‘Kiss of the Spider Woman’ Review: A Solid, But not Groundbreaking Movie Musical

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Manuel Puig’s novel, *Kiss of the Spider Woman*, has been successfully adapted for various media. Puig himself turned it into a play, which was then made into an Oscar-winning film featuring John Hurt, Raul Julia, and Sonia Braga. Most recently, it was developed into a Broadway musical with music by John Kander and Fred Ebb, and a book by Terrence McNally.

Bill Condon, the director of films like *Dreamgirls* and *Gods and Monsters*, brings a new adaptation to the screen, this time starring Jennifer Lopez. While this version differs from the stage production, the core story remains consistent: set in Argentina, it follows Molina, imprisoned for being queer—insisting they are a woman, not a gay man—and Valentin, a political prisoner caught up in the Dirty War due to their Marxist beliefs. Initially strangers, the two men connect through hardship, a blossoming romance, and, most importantly, through Molina’s vivid descriptions of classic films to Valentin.

Molina is captivated by actress Ingrid Luna, who appears in the films they share with Valentin. Luna represents Molina’s own exploration of femininity and also embodies the alluring, dangerous characters Molina often imagines. Molina is secretly working for the Argentine government, attempting to extract information from Valentin, a political prisoner. The story contrasts the grim reality of prison life with the elaborate fantasies Molina creates for Valentin through the power of film. While the original story drew on multiple films starring Luna, this adaptation focuses entirely on a single musical as the source of the prisoners’ shared escape.

Condon’s film uses visual style to clearly distinguish between fantasy and reality. The fantasy sequences are designed to look like classic, glamorous Hollywood movies, while the prison scenes are intentionally bleak and colorless. This contrast is so stark that it makes you wonder why the recent *Wicked* films didn’t use similar vibrant colors. Even the realistic scenes in *Kiss of the Spider Woman* feel somewhat artificial, which actually enhances the movie’s entertainment value. This separation of worlds is similar to what Todd Phillips tried in *Joker: Folie à Deux*, but unlike that film’s cynical tone, *Kiss of the Spider Woman* feels genuinely affectionate towards its actors and story.


Roadside Attractions

Despite fairly standard filmmaking choices, *Kiss of the Spider Woman* shines when it delves into fantasy. Like his *Dreamgirls*, the film’s success relies heavily on the strength of the original story and the captivating performances of the actors, more than on Condon’s directing. When he’s at his best, Condon clearly draws inspiration from musical masters like Stanley Donen, Gene Kelly, and Vincente Minnelli, skillfully recreating iconic moments – think Cyd Charisse in *Singin’ in the Rain*. It’s clear he has a deep love for musicals, even if his own directing doesn’t always fully capture their magic.

The show definitely borrows from other works, but it does so effectively. While the music isn’t Kander and Ebb’s strongest, the songs are still enjoyable, particularly “Where You Are,” which is both catchy and powerfully explores themes of trauma and disconnection – showcasing the duo’s signature sharp edge. The director’s use of footage from the stage show in realistic scenes unfortunately makes those scenes feel flat, rather than creating a meaningful comparison between reality and illusion. Though it doesn’t entirely succeed, this contrast might have been the goal. The newly written songs, using some previously unused lyrics by Ebb, are simple but pleasant, and thankfully, this version avoids the pitfalls of Lin-Manuel Miranda’s previous adaptation of the same source material, which was a disappointment. Songs like “An Everyday Man,” already familiar from earlier productions, fit right in.

It’s common for movie musicals to simplify the political and thematic complexities of the original stories they’re based on, and *Kiss of the Spider Woman* is no exception. While it can’t fully capture the experience of living in Argentina under military rule in the 1970s and early 80s, it’s still fascinating to see how artists incorporate the politics of a time period into their work. Both Condon and McNally focus more on broad portrayals of the suffering and torture endured by political prisoners, and don’t delve deeply into the underlying transgender themes of the central relationship. However, the lead actors do manage to convey that pain effectively.


Roadside Attractions 

The performances have a deliberately theatrical quality, fitting for this over-the-top story – it’s as if the actors are playing to a large audience. This works well for a film with such dramatic flair, and while Luna is consistently strong, Tonatiuh (who uses he/they pronouns) truly shines. Their captivating eyes and energy make you believe they’re the lead in a classic Hollywood musical, even in difficult scenes like being poisoned or interrogating a fellow prisoner. Jennifer Lopez is perfectly cast as Ingrid Luna, and her performance feels both natural for her public persona and like a loving homage to iconic actresses like Rita Hayworth, whose influence is strongly felt throughout the film.

Despite recent disappointments in movie musicals – films like *Wicked*, *Emilia Perez*, *Tick, Tick… Boom!*, and *Joker: Folie à Deux* haven’t exactly restored faith in the genre – it’s still welcome to see one succeed. While *Kiss of the Spider Woman* doesn’t reach the heights of *Chicago*, which John Condon masterfully adapted with Bob Marshall, or the iconic *Cabaret* (and no one can replicate Bob Fosse’s genius), it’s still easy to get swept up in its story, even if only for a little while.

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2025-10-09 22:40