Kiss of The Spider Woman

I have never been shy about my love for musicals — what can I say, they just have a tendency to hit the right note with me. That’s why whenever a new one is announced, my musical antenna goes up and I circle the release date on the calendar. My love for the genre, though, doesn’t make me blind to its flaws — not all musicals are created equal. There are, however, some aces up the sleeve, and one of them is having Bill Condon direct. He’s the man behind Dreamgirls and the live-action Beauty and the Beast — so when I think of him and a musical, I’d say we’re in good hands with Kiss of the Spider Woman.

The year is 1983, and in a prison cell sits Valentín Arregui (Diego Luna), a political prisoner. His days alone are over when he’s joined by Molina (Tonatiuh), who has just been sentenced for an intimate act with another man. Valentín isn’t thrilled, preferring to spend his time reading and lost in thought, but Molina’s outgoing personality slowly wears down his defenses. What Valentín doesn’t know is that Molina has been placed in the cell to extract information the government wants from him — something that seems very unlikely at first. All Molina wants to talk about is his love for movies, especially one starring the glamorous Ingrid Luna (Jennifer Lopez).

As the days pass, the wall between them begins to crumble, and the two men develop a deep bond — but time is running out for Molina, who is still under pressure to get the information the government demands.

Written for the screen by Bill Condon, who also directs, and adapted from the novel by Manuel Puig and the stage musical by Terrence McNally, Kiss of the Spider Woman is both grand and visually stunning. It’s a story of survival and resistance, as Condon vibrantly explores the connection between imagination and reality. He does this by weaving together two distinct worlds: one cold and confined, the other bursting with color and cinematic fantasy. The contrast — between the grim prison and the dazzling, old-Hollywood-inspired dream sequences — is striking and often breathtaking.

Kiss of the Spider Woman succeeds beautifully in its performances and production, and it’s sure to please musical fans. For me, while it’s quite good, it doesn’t quite reach the top shelf of Hollywood song and dance classics. The musical numbers themselves are gorgeously staged and executed with precision. Lopez seems to be living her best life here — the role of Ingrid feels tailor-made for her, allowing her to sing, dance, and act, all of which she does superbly here. Diego Luna is excellent, but the true standout is Tonatiuh, who captures Molina’s complex emotions with great nuance — and proves himself as an exceptional singer as well.

Where Kiss of the Spider Woman falters is in its pacing; it sometimes meanders, relying on its musical numbers to bring it back to life. Still, Condon understands the heart of the story — two people and the relationship that blossoms between them — and that gives the film real emotional depth. Something may be missing that keeps it from greatness, but it still remains highly entertaining.