A delightful musical that speaks for politics and Golden Age movies.
A note for today’s generation of movie goers: don’t go see “Kiss of the Spider Woman” thinking it was going to be some kind of erotic Marvel movie. See it for the way it represents politics and movies from the Golden Age of Hollywood, and how they can be used as escapism.
I was thinking back to how the prison drama “Sing Sing” used acting as a sign of escapism, and it proved to show high spirits even in the darkest of times. “Kiss of the Spider Woman,” which is the second film version of the book and the first version of the stage musical, is the latest entry from director Bill Condon, who continues to prove his gifts in directing movie musicals.
Set in Argentina of 1983, we meet two men sharing the same cell: the serious-minded political prisoners Valentin Arregui (Diego Luna), who also has vital information, and the gay window dresser Luis Molina (Tonatiuh), who is charged with indecency. While Valentin has wrapped his mind in reading, Luis isn’t into politics and has used movies as escapism, which is why he tells the story of the movie musical that changed his life: “Kiss of the Spider Woman.”
From my stand point, it might sound like something out of “The Princess Bride” when Peter Falk tells young Fred Savage the fairy tale. But Luis imagines both Valentin and himself as the macho male leads (Luna as Armando and Tonatiuh as Kendall) and the dazzling Jennifer Lopez as the actress Ingrid Luna as the main heroine Aurora.
That’s two years in a row in which she found herself being in a good movie after last year’s “Unstoppable.” And when she transforms into the Spider Woman, who has black hair and long nails, she’s probably the closest thing I would ever have to touching an actual spider (I have arachnophobia, and I can’t even touch pictures of them). Except she’s as poisonous as a spider when she has the kiss of death.
Despite the fact that Luis is ordered by the warden (Bruno Bichir, brother of Demian Bichir) to get whatever info Valentin has, a strong bond grows between the two. Especially since each of them have loved ones. Luis has his mother to worry about, while Valentine misses his love from the revolution-Marta (Josefina Scaglione).
“Kiss of the Spider Woman” might not sell out tickets like the upcoming “Wicked For Good” is, but it still delights you with its old fashioned charms and poetic spirit in such a time and place. Granted, the screenplay has to be cynical and lagging sometimes, but mostly, it delivers with the performances and elaborate musical numbers.
I didn’t recognize Tonatiuh’s name on the poster or credits, but I do see something unique inside of him. It’s all within the personality and voice that really draws us into his character. He deals with the homophobia at that time and depression, and tries to use the power of movies to thrive against them.
Luna also delivers as a revolutionary who has a better memory than Leonardo Di Caprio’s Bob had in the electrifying “One Battle After Another,” but he also gets tortured by prison guards and ends up in poor health. In reality, he’s in trouble, but the movie world can really change his tune, and he looks and feels like a Golden Age movie character in those scenes.
The poster made me think this would be released by Columbia Pictures, but it’s actually Roadside Attractions. And given its premiere at the Sundance Film Festival, I acknowledge that it’s another example that you don’t always need big promotions or major studios to sell an entertaining musical. You need the right stars and filmmakers, who happen to be Luna, Tonatiuh, Lopez, and Condon. I had a really good time in this web. And that is one big web Lopez is on.