‘Kiss of the Spider Woman’ Review: Bill Condon’s Uneven Adaptation of the Kander and Ebb Musical Shines Brightest in Jennifer Lopez’s Dazzling Star Turn

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At the conclusion of “Kiss of the Spider Woman,” a heartfelt dedication reads: “For Fred, Terrence, and Chita.” This refers to Fred Ebb (lyricist), Terrence McNally (playwright), and Chita Rivera (original star), who were instrumental in the 1993 Broadway production. They joined composer John Kander and director Harold Prince in bringing this musical to life. The show won six prestigious Tony Awards and ran for more than a year, although opinions on it were mixed, with some considering it a lesser work compared to the acclaimed team’s other productions like “Cabaret” and “Chicago.

Bill Condon takes on a challenging task in attempting to turn complex source material into a captivating film musical. To some extent, he succeeds due to commendable performances from the main actors. Like his screenplay for 2002’s “Chicago,” Condon juxtaposes grime and grandeur, with primary characters trapped in harsh reality yearning for an escape into the fantastical world of Golden Age Hollywood musicals.

In the stage production, taking place in Argentina during 1983, political prisoner Valentín Arregui is placed in a cell that’s already occupied by Luis Molina, a man convicted of false charges for public indecency related to his work as a window dresser. In Hector Babenco’s 1985 film, which earned William Hurt the Best Actor Oscar for his portrayal of Molina, and in the novel by Manuel Puig that inspired it, the narrative starts with these two characters already sharing a cell.

In Condon’s script, Molina (Tonatiuh) is shifted into Valentín’s (Diego Luna) cell, not just as a minor adjustment, but following orders from the prison supervisor (Bruno Bichir). The objective is to pressure the leftist revolutionary, who’s part of a rebel group trying to dethrone the military regime, into revealing crucial information.

By making that straightforward change, the daydreamer finds himself shifting to the realm of the strict ideologue, not the other way around. At first, Valentín shows resistance towards his fellow inmate, preferring solitude and reflection over conversation. However, Molina serves as a beacon of feminine gentleness, brightness, and warmth amidst the unforgiving surroundings. This sets the stage for a blossoming relationship between these stark contrasts, one that is less about deals and more deeply rooted in authentic emotions. Essentially, it sets this narrative up as a love story.

Reaching the destination might involve some rough patches. Despite Luna and Tonatiuh delivering strong performances in their roles, certain scenes appear dull and contrived initially. However, these moments gain momentum once Valentín accepts Molina’s friendship, and particularly when Molina tends to Valentín’s wounds after he’s been severely beaten by prison guards, close to death.

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The journey may not always be smooth sailing. Although Luna and Tonatiuh convincingly portray their characters, some scenes seem underdeveloped and stagey at first. However, these scenes become more engaging once Valentín accepts Molina’s friendship and especially when Molina helps Valentín recover from the brutal beating he received at the hands of prison guards.

Or:

Making progress might involve going through some tough times. While Luna and Tonatiuh deliver impressive performances in their roles, there are moments that feel unconvincing and staged initially. But these scenes pick up speed once Valentín accepts Molina’s friendship, and they become even more compelling when Molina nurses Valentín back to health after he’s been mercilessly beaten by prison guards.

All three suggestions aim to convey the idea that while the performances are strong, certain scenes initially feel underdeveloped but gain momentum as the story progresses.

It’s fortunate that throughout the movie-within-a-movie, the characters escape prison regularly. This setting allows Condon to demonstrate his talent for creating captivating musical performances. Molina is intensely devoted to the glamorous screen star Ingrid Luna, who is affectionately referred to as “Luna” by her fans – a group that may be dwindling, given that many have forgotten her. Unlike in the stage production where Molna moved from one of Luna’s films to another, here he is fixated on just one of her musical productions, specifically “Kiss of the Spider Woman“.

By skillfully integrating the metafictional elements within the title’s storyline, Condon infuses the movie with vibrant life. He elevates the campy, escapist scenes to the film’s core, brimming with Technicolor energy, grandiose musical numbers, and intense emotions. This approach also enables the writer-director to reflect the narrative connections between reality and fantasy more accurately, though at times it might seem a bit contrived.

Jennifer Lopez shines in one of the most outstanding roles of her career as Luna, showcasing her exceptional talents in singing and dancing. She is breathtaking in Colleen Atwood’s magnificent costumes, and her energetic performances elevate the entire film. The role demands a larger-than-life persona, and Lopez delivers spectacularly.

Initially, I showed no interest in the convoluted storyline of the movie Molina was talking about, but as he delved deeper into his elaborate explanation, I found myself craving more parts of it as a captive audience. In this film, Luna takes on the role of Aurora, a stylish fashion editor for a popular Latin American magazine, while Molina slips himself into the narrative as her overly attentive, subtly gay-coded assistant, Kendall. In a humorous side note, Molina informs me that the actor portraying Kendall went a bit too far in trying to appear manly, which apparently dulled some of the humor. However, since it’s his story, he can interpret and embellish it as he pleases.

Aurora is successful in her career but hasn’t found a lasting relationship. This could change when she encounters charming Armando, a photographer, who proposes they travel north to capture the winter issue authentically among local people. In the adaptation by Molina, Armando is portrayed by Valentín, sporting a pencil mustache rather than his usual prison stubble.

Trouble arises when Paolina (Aline Mayagoitia), a younger suitor for Armando, unexpectedly shows up at an elegant nightclub, despite it being a simple village filled with ordinary people. However, since this is a musical, there are still cocktails, fancy attire, and a live band – even in a humble setting like this. And oh, their carnival costumes are quite something! Additionally, the club’s gangster owner, Johnny (Tony Dovolani), develops feelings for Aurora following an electrifying dance they shared together. Molina, enamored by Aurora, expresses his affection and mentions that despite Hollywood’s efforts to make her appear all-American, she remains Latin. He even confesses he wishes he were a woman.

As Aurora and Armando strive for happiness, the looming danger becomes evident when they discover the legend of the Spider Woman, a menacing figure who annually requires a woman from the village to give up the man she cherishes, subjecting him to her lethal kiss. In the movie, Lopez assumes the role of the Spider Woman, subtly referencing Rivera and possibly Sonia Braga in the Babenco film, while tailoring the character to suit her unique style. Clad in a sleek black and silver ensemble adorned with lace webbing that resembles a spider’s web, she embodies a seductive Louise Brooks with her sharp bob. The result is captivating.

As events build up dramatically, tension inside the prison increases as well, especially when the warden begins to apply more pressure. Diego Luna and Tonatiuh depict the growing emotional connection between Valentín and Molina – love, passion, remorse – with heart-wrenching sincerity. However, in the climax, the back-and-forth exchanges become heavy and complicated, diminishing the emotional impact of the tragic ending scenes.

Even though this problematic series has its flaws, there’s still much to appreciate. Luna, with her captivating acting skills, ignites Valentín with rage, disgust, and anger initially, yet skillfully transforms that intensity into tender emotions. In a remarkable debut, Tonatiuh (recently seen in Carry-On) can swiftly switch from pride to humiliation, from self-absorbed to selfless, many times within a single line delivery. The storyline presents the internal struggle of a man yearning for freedom but tormented by the moral dilemma of achieving it through betrayal.

Despite Valentin’s modern, non-stereotypical portrayal of masculinity appearing fitting for today’s sensibilities, there are touching instances where he sternly reprimands Molina for his self-deprecation. The influence of McNally is evident in the script, as the musical was revolutionary in its multi-faceted representation of an unapologetically gay character, not a caricature but a complex individual with wit and dignity. The compassionate bond between Molina and Valentin significantly contributes to the film’s exploration of gender roles, sexuality, and masculinity, many themes that can be traced back to the original novel.

As a gaming enthusiast might say when discussing an intricately designed game with removed features: While die-hard fans of the original musical might cringe at some missing songs by Condon, he’s kept most of the crucial numbers plus additional ones that didn’t make it past development. These tunes may not be vital for the storyline progression, but they offer sharp wit and vibrant flair. Unlike other productions where cuts are so rapid-fire you barely catch the dancers’ movements, editor Brian A. Cates gives each number ample space to unfold, and cinematographer Tobias Schliessler’s expansive shots let us fully appreciate Broadway legend Sergio Trujillo’s energetic and seductive choreography.

In this movie, Lopez shines brightest, given his fitting portrayal of such captivating character; it’s hard not to be spellbound by his scene-stealing performance. Meanwhile, Luna holds her own remarkably well during the dance scenes against Lopez. His expressive Latin lover dance moves are a delight, even if his singing voice is somewhat thin. On the other hand, Tonatiuh impresses with his powerful and emotionally resonant vocals. It’s worth noting that Hurt’s performance alongside Raul Julia (in the role of Valentín) was commendable, but it’s heartening to see an openly gay actor landing a significant role in this groundbreaking production.

The question of whether this musical needed a remake for the big screen is up for discussion, and there are those who argue that it doesn’t offer anything new compared to the earlier screen adaptation. However, it does provide an excellent platform for three captivating actors to shine.

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2025-01-27 06:55