Released in Australian cinemas on Thursday, October 30, Kiss of the Spider Woman is the latest musical drama written and directed by Bill Condon with music and lyrics by John Kander and Fred Ebb, the winning team behind hit shows such as Cabaret and Chicago.
Based on the 1976 novel by Argentine author and LGBTQ activist Manuel Puig and the 1985 Héctor Babenco-directed award-winning film of the same name, Kiss of the Spider Woman was adapted into a stage musical in the early 1990s and later won multiple Tony Awards, including ‘Best New Musical’ and ‘Best Original Score’.
The film stars Diego Luna, Tonatiuh and Jennifer Lopez each playing dull roles. The story focuses on two inmates during the tail end of the Dirty War – Valentin Arregui Paz (Luna), a political dissident, and Luis Alberto Molina (Tonatiuh), a camp window dresser convicted of public indecency. To escape the horrors of prison life, as well as to earn the trust of Valentin, Molina vividly recalls the plot of his favourite movie musical, Kiss of the Spider Woman.
The in-universe film stars Ingrid Luna (Lopez) as Aurora, a successful fashion magazine publisher, and the mysterious spider woman. Molina’s retelling also casts himself as Kendall (Aurora’s assistant and a closeted homosexual) and Valentin as Armando (a photographer and Aurora’s love interest).
The film is ambitious, and Condon does his best to weave a complicated web of love and deceit. As a whole, thematically it works, but tonally it falters. Although the in-universe plot in some ways parallels aspects of the real-world storyline, the film feels disjointed with far too much time spent on the two prisoners. A few more songs blending the two together would help immensely. I haven’t seen the stage production but almost every song set in the real world is removed in the theatrical version, so I assume it melds better on stage. In total, the film only has fourteen musical numbers whereas the stage musical has almost double that.
Kiss of the Spider Woman is far less accessible than Condon’s previous works like The Greatest Showman and Chicago, which are more successful at balancing serious storylines alongside fantasy elements. And, as the 1985 film focused on the solemn nature of the original source material, it’s a missed opportunity to not go all-in on what works so well in the stage musical and its compelling score. Although praise is given to Condon for understanding the point of original source material where other movie adaptions have struggled such as Dear Evan Hansen, Mean Girls and in a way even Wicked.
The film relies heavily on its talented leads. Newcomer Tonatiuh gives a masterful performance. His ability to juggle many complex emotions, often within a single line reading, showcases some strong (and potentially award-winning) acting instincts. He floats from flamboyant and flirty to confident and charming to fearful and cautious with expert craftsmanship.
As one of the most influential entertainers of her time and the biggest draw card of the film (at least by marketing standards), Lopez is a tour de force. Between her incredible vocal work, strong acting chops and demanding dance numbers, she puts on an award-worthy performance. While she plays Aurora as strong and independent yet sometimes as a wide-eyed doe, she oozes sophistication as the intriguing spider woman (a role I found myself particularly drawn to, especially after we discover there’s more to her than meets the eye). Lopez flits between light and airy and dark and mysterious with ease, and her energetic musical numbers are unsurprisingly the highlight.
The character of Valentin is largely underwritten with his relationship with Marta (Josefina Scaglione) reduced to almost nothing, so Luna doesn’t get as much to work with. I have read criticism that the love story between Valentin and Molina seemingly comes out of nowhere, and I too felt this. I also thought Valentin’s sudden eagerness to hear the story jarring but it’s difficult to gauge the passing of time. Luna’s vocals also aren’t as strong as either Tonatiuh or Lopez, so he only sings briefly during An Everyday Man.
The stunning costume design and vibrant Technicolor cinematography is a fitting homage to the glitz and glamour of silver screen musicals of days gone by. Even the widening of aspect ratio transitioning from the gritty and bleak prison life into this fantastical world makes the film feel so much richer by design. And as a lover of musical theatre, this is where it truly excels and I longed for more time spent there. Along with some dazzling and inventive choreography, I felt everything came together and was particularly strong during Gimme Love and Only in the Movies.
I do wonder who this film was made for. Those expecting a modern-day film remake won’t find it here, and those seeking a satisfying musical or faithful homage will most likely be disappointed. Kiss of the Spider Woman has moments of brilliance but overall, I was left wanting more. While the story didn’t capture me personally, I appreciate its ambition and striking visuals.
I won’t spoil the heartfelt ending but thematically it is perfect as everything gets wrapped up in a tight, neat bow.
3.5/5 STARS
TINSEL and TAP SHOES 