As the title for Kiss of the Spider Woman comes to life, the prologue’s sung lyrics say, “I can bring you peace.”  That’s exactly what Molina (Tonatiuh) is hoping for when he arrives at the jail cell.  He’s currently serving a sentence for crimes involving his sexuality.  It is 1983 in Argentina during military dictatorship, where artists, journalists and activists are thrown behind bars.  Activism is exactly what sent Valentín (Diego Luna) to jail, and he’s not exactly pleased when his talkative new roommate shows up.  

Yet Molina is determined to win him over as he hangs up curtains, and starts up his hot plate, offering Valentín some food.  This is partially motivated by the warden (Bruno Bichir) using Molina as an informant on the political prisoner.  But when Valentín isn’t exactly forthcoming, his cell mate decides to try a different technique – just being himself.  

On the walls Molina places posters of some of his favourite films.  But he has an obsession with one in particular starring Ingrid Luna (Jennifer Lopez) in a dual role as the beautiful and charming Aurora as well as the intimidating and deadly Spider Woman.  He’s surprised Valentín has never seen it, or many movies in fact.  So, to while away the time, to find some joy and peace within the dreary and often torturous walls of the prison, he begins to tell the story of the film.  

Kiss of the Spider Woman is a strange one, as musicals go.  Perhaps that’s because it is a story with many iterations.  It was originally a 1976 novel by Manuel Puig, then a stage play. And then it was a 1985 film that won William Hurt an Academy Award.  It wasn’t until the early 90’s that composer John Kander and lyricist Fred Ebb turned it into a musical. And this musical certainly is not the best of Kander and Ebb’s works, which also include Chicago and Cabaret.  

Director Bill Condon is no stranger to Kander and Ebb’s work, having adapted the screenplay for 2002’s Best Picture winner, Chicago.  But Kiss of the Spider Woman comes with its own challenges.  A hybrid between jail drama and old school MGM style musical, Condon’s adaptation flips between the two cell mates and the glamorous world of the film Molina describes.  It scraps the music that the stage version had in the prison scenes, highlighting the deprivation the two protagonists face.  There is no harmony there.  

Courtesy of Roadside Attractions

The only musical numbers come in the fantasy world, which lies is very stark contrast.  Here each scene is in colourful jewel tones with beautiful costuming from Oscar winner Colleen Atwood (Chicago, Alice in Wonderland) and Christine L. Cantella.  Choreography from Sergio Trujillo, who started his career as a dancer in the original broadway production, brings Latin flare to the gorgeous dance numbers.  

Jennifer Lopez seems right at home here, as if this was a role she was meant to play.  She is luminous as Aurora, just as Molina describes her, and with so much practice during the course of her career, she’s fluid and comfortable in all the fast choreography.  In fact, I could have lived forever in the world that Condon creates here.  Lopez’s numbers are great (even if Luna is a bit stiff next to her), the visuals are stunning, and the film certainly captures the magic of the old Hollywood musical.  

Just don’t ask me to completely lay out every plot detail of the movie within a movie.  With all the back and forth, and some scenes and numbers that feel almost prematurely truncated, that part is not easy to follow.  But, it’s also not the point of the film. That world is a fantasy which allows Molina and Valantín an escape, some peace.  It’s also a reflection.  Back in reality, the two prisoners, victims of authoritarian military rule, discuss politics, sexuality and repression.  Their relationship grows, and the things that originally seemed to push them apart seem to melt away with understanding and love.  Similarly in the musical side of things, love and sacrifice come into play.  

As William Hurt won his Academy Award for the role of Molina, it makes sense that Tonatiuh steals the show here.  In his first starring role, he’s most impressive, inviting us in to the history Molina has suffered even though it’s never shown.  He’s apt to be what gets you talking, even as Lopez shines so bright. 

The acting talent had to be there for this unorthodox musical.  It’s a somewhat hard sell.  For those that love musicals, like myself, this version almost doesn’t have enough music in it.  For those that dislike them (Molina would say “I pity you”) you may not be able to overlook the melodramatic fantasy world.  It’s a tough balance to strike, and the film doesn’t always succeed.  But, even if you’re not likely to leave singing the songs, there is enough talent, beauty and love within both sides of this film to create an escape of your own.