Director: Bill Condon
Writers: Bill Condon, Terrence McNally, Manuel Puig
Stars: Diego Luna, Tonatiuh, Jennifer Lopez
Synopsis: Valentín, a political prisoner, shares a cell with Molina, convicted for public indecency. An unlikely bond forms as Molina recounts a Hollywood musical plot starring Ingrid Luna.
Film is many things to many people. This is something that we, who adore the art form, sometimes forget. We may catch ourselves judging others for the media that they spend time with, or even how they engage with it. One of the many things that film can be, is an escape. We travel to our local movie theater, sit in a dark room with a flickering light, surrounded by strangers. And through that special magic, we are transported somewhere else, to experience something completely different. Sometimes, we get an eyeful of a difficult life that we hopefully will never experience. There is a joy in that, but I am not sure anything surpasses the pure light of a fantasy. Within that fantasy, there can even be an understanding that what we are watching has faults. But if we are open to the opportunity in front of our eyes, we can evade the pure logical analytics and just be present.
Kiss of the Spider Woman, in any of its iterations, is both an escape and a truth that we are forced to look upon. It tells the story of Valentin (Diego Luna) who is a prisoner in Argentina due to his political beliefs and activities. One day, he is introduced to a new cellmate, Molina (Tonatiuh), who has been imprisoned for public indecency. Of course, this “indecency” has more to do with their queer identity, rather than any one particular behavior. As Molina makes their entrance, it immediately becomes clear that Tonatiuh is about to give one of the great performances of the year. Luckily, after the runtime is extinguished, they remove all doubt. In a film filled with distractions, technicolor, and singing and dancing, what shines through is the human relationships and pure love, led by Tonatiuh.
The escape within the film is the story of Molina’s favorite old Hollywood musical, ‘Kiss of the Spider Woman,’ and his favorite actress, Ingrid Luna (Jennifer Lopez). Director Bill Condon holds clear control over a difficult text, not only filled to the brim with musical numbers, but also the two plots, constantly overlapping. This is no easy task, but one that was made easier by impeccable casting. Lopez, who has certainly had her ups and downs on film, gives a stunning performance that creates a perfect fantasy for Molina and Valentin. She is the picture of femininity, in all of its power, struggle, and seeming contradictions in form. Her musical and movement talent, never under much question, are on full display. Despite the wonderfully choreographed numbers moving with her and behind her, she is never out of her depth and manages to hold the screen in a quite different style than we are accustomed to in her previous roles. Additionally, the film allows a growth in her performance, culminating in the title track, in which Lopez unleashes her surprising vocal power, along with perfect physicality. This creates a moment that will send chills down the spine of any fan of the form.
Condon, clearly influenced by classic Hollywood musicals, darts between these storylines deftly and expertly. There is little to no concern with making the colorful numbers fit within the world of the prison. He understands that this is a fantasy with a capital F, and the contrast is needed. If only all directors of modern musicals were this unafraid to dive into color, light, and movement! Everything from the soft lighting to the wondrous costumes (from Colleen Atwood) screams beauty, love, and escape. We fully understand why Valentin and Molina would want to run from the truth of their situation, but the script manages to make all of the right choices with their relationship, as well.
The writing allows both Tonatiuh and Luna to explore their characters’ differences and similarities slowly and effectively. There are no moments between the two that do not feel wholly genuine. Tonatiuh certainly has the showier, funnier part and they take wonderful advantage of every opportunity. Luna, on the other hand, is resolute in his values and so must slowly allow himself to be cared for. Both give performances that match exactly who their characters are and should be commended. The care and consideration built through their conversations, physical connection, and shared space allows for discussions of storytelling, friendship, romance, and even revolution. The patience shown, by not only the film as a whole, but by the performers, allows love to bloom in the most dark, dingy, and unlikely of places.
Is Kiss of the Spider Woman a fantasy? Yes and no. It is hard not to be struck by the timing of the film’s release. Living in America, where there are people being taken off the streets forcibly because of what they look like, the reality of the prison plotline here hits dangerously close to home. Are things as bad as in Argentina in the 1980s? Probably not, at least not yet. But this all depends on your perspective and experience. Can we tell people losing their homes, jobs, livelihoods, and in some cases, their freedom, that things could always be worse?
Kiss of the Spider Woman, like film, is many things. It is a beautiful, colorful love story. It is also a warning. Different viewpoints, sexualities, and genders have a history of being attacked by governments at large. But diversity is not our weakness, it is our strength. By the time the credits roll, no matter what ends come to our characters, we understand who and what is right. No longer can we stand by and simply hope that our better angels will prevail. There is nothing wrong with escape, in the right moments, but some things are worth fighting for, in the real world. Kiss of the Spider Woman shows us that, in the end, love is one of those very things that is worth fighting for, no matter what must be sacrificed for it.
