Over two decades ago, Bill Condon wrote the screenplay for Chicago, a musical where the protagonist escapes prison life through song and dance. Now Condon writes and directs Kiss of the Spider Woman, another film that blends incarceration with musical escapism. The 1985 film of the same name, which wasn’t a musical, scored William Hurt a Best Actor Oscar. Looking back, it’s confounding that Raul Julia wasn’t also nominated for one of that decade’s most underrated performances. Condon’s adaptation of the stage musical is also carried by a powerhouse duo in Diego Luna and Tonatiuh.
While it’s hard for any actor to match Julia’s charisma, Luna still has an iron will as Valentín, a political prisoner during a time of social unrest (unlike now!). He shares a cell with Molina (Tonatiuh), a gay window dresser who copes with his grim surroundings through the magic of movies. His favorite is Kiss of the Spider Woman, a musical starring screen legend Ingrid Luna (Jennifer Lopez). Although Valentín isn’t the biggest musical fan, he warms up to Molina as he recounts the film. Little does he realize that the warden has enlisted Molina to make Valentín talk in exchange for an early release. This becomes increasingly difficult, as Valentín remains tight-lipped and Molina falls in love with him.
Unlike the stage version, Condon keeps most of the musical numbers contained to the fantasy sequences, creating a contrast between gritty reality and cinematic romanticism. It’s a clever choice in the vein of Chicago and Cabaret. Watching Condon’s film, though, I found myself asking if this needed to be a musical at all. Telling this story through song isn’t a bad idea, as the source material was always about escapism. The choreography and production design capture the essence of a Golden Age movie musical. My issue is the songs from Kander and Ebb.
They aren’t bad, but unlike Chicago, where each number stood out, the songs here often blend in with one another. They don’t always move the story forward, either. If anything, they sometimes bring the film to a halt, strangely making us want to get back to the grimy prison cell. There’s been talk of Lopez getting a Best Supporting Actress nomination. There’s no denying that the camera loves Lopez, not to mention Colleen Atwood’s costumes. As magnetic as Lopez is, she can feel like a third wheel in a film that truly belongs to Luna and Tonatiuh.
That said, Luna and especially Tonatiuh are exceptional as inmates who unexpectedly find hope in one another. If you’re looking for a more tonally consistent version of this story, the 1985 film is superior. For its performances and crafts, though, Condon’s adaptation is an admirable effort. There’s a point early on where Molina says that Kiss of the Spider Woman – the movie within the movie – technically might not be the greatest ever made. Molina loves it regardless, saying that it’s nothing short of beautiful. Indeed, Condon has made a beautiful-looking movie with enough substance underneath. Even at its messiest, it’s a web worth getting wrapped up in.