Tonatiuh (left) and Diego Luna in 'Kiss of the Spider Woman.' Courtesy of Sundance Institute
When Kiss of the Spider Woman first graced the Broadway stage in 1993, it was a bold production with a powerhouse team behind it: lyricist Fred Ebb, playwright Terrence McNally, composer John Kander, director Harold Prince, and the iconic Chita Rivera in the starring role. The show won six Tony Awards but had a polarizing reception from audiences and critics alike, often considered a second-tier work compared to Kander and Ebb's Cabaret and Chicago. Now, writer-director Bill Condon takes on the ambitious task of adapting this complex musical into a vibrant movie, and thanks to an exceptional cast, he almost pulls it off.
Condon, known for his work on the 2002 hit Chicago, once again blends gritty realism with dazzling Hollywood fantasy. Set in Argentina in 1983, the story revolves around two cellmates: Valentín Arregui, a political prisoner, and Luis Molina, a gay window dresser imprisoned on fabricated charges. Unlike previous versions of the story—Manuel Puig's novel and Hector Babenco's 1985 film—Condon tweaks the setup. Molina is now introduced as the new arrival in Valentín’s cell, tasked by the warden to spy on the revolutionary. This subtle change shifts the dynamic, creating an emotional arc where Molina’s warmth softens the hardened Valentín, turning their relationship into a tender love story.
Diego Luna delivers a fiery performance as Valentín, brimming with anger and resistance, while newcomer Tonatiuh shines as the effervescent Molina. Their initial tension gradually gives way to friendship and deeper affection, a progression that feels natural despite some stagy moments early on. The turning point comes when Molina nurses Valentín back to health after a brutal torture, solidifying their bond.
However, the film truly soars when it breaks free of the prison walls and dives into Molina’s imagined movie musical, Kiss of the Spider Woman. Here, Jennifer Lopez stuns as Luna, a glamorous screen star at the center of Molina’s fantasies. Dressed in Colleen Atwood’s breathtaking costumes, Lopez embodies the campy, larger-than-life presence the role demands, seamlessly blending sensuality, humor, and star power. Her dazzling musical numbers, filled with vibrant choreography by Sergio Trujillo, inject the film with color and energy.
In Molina’s retelling, Luna plays Aurora, a stylish magazine editor caught in a love triangle involving Valentín (reimagined as a dashing photographer) and a young rival. The narrative spirals into melodrama with a mythical Spider Woman threatening their happiness. Lopez doubles as the titular Spider Woman, draped in glittering web-like gowns and exuding a sultry menace. These sequences, bursting with Technicolor brilliance, are a metafictional nod to the story’s themes of escapism and longing.
Despite its strengths, the film struggles with pacing in its final act. The prison scenes grow convoluted as the stakes rise, diluting the emotional impact of the tragic climax. Yet, moments of raw intimacy between Luna and Tonatiuh offer poignant reflections on masculinity, sexuality, and identity.
Condon’s adaptation trims many of the original musical’s songs but retains key numbers and adds emotional weight to the narrative. While the film may not surpass previous adaptations, it serves as a showcase for three remarkable performers, particularly Lopez, who steals every scene she’s in. With its heartfelt performances and lavish visuals, this version of Kiss of the Spider Woman offers a captivating, if imperfect, cinematic experience.
