An emboldened redo of ‘Kiss of the Spider Woman’ dazzles, despite unsticky songs

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“Kiss of the Spider Woman” is a bold and provocative film about a prisoner captivated by a musical. It’s the kind of movie some people might avoid, even if they were stuck in jail for years. That’s their loss, and I’m going to try to convince them why they should watch it.

The year is 1983 in Argentina, during the final, oppressive days of a military dictatorship responsible for the disappearance of 30,000 people. Valentin, a hardened political prisoner connected to a revolutionary group, shares a cell with Molina, a lively and outspoken gay man serving an eight-year sentence for a public decency violation. They couldn’t be more different. But Molina tries to connect with Valentin, hoping to get him to relax and talk. He does this by telling stories about glamorous old movies starring Ingrid Luna, a beautiful, classic film star whose posters offer a small bit of color in their bleak prison cell.

“I hate musicals,” Valentin complains.

“Then I pity you,” Molina says breezily, charging into the first scene.

Valentin and Molina, enduring brutal conditions like beatings, starvation, and betrayal under the watchful eye of the harsh warden Bruno Bichir, find escape in elaborate daydreams filled with vibrant color. Director Bill Condon, known for films like “Chicago” and “Dreamgirls,” has cleverly reimagined the 1993 Broadway show – itself a daring take on a 1976 novel and the 1985 Oscar-winning movie. Condon cast the same actors, Luna and Tonatiuh, in the fictional movie within the film, changing the story from a Nazi propaganda piece to a passionate, emotional South American love story about a glamorous actress and a dedicated photographer. This new story’s themes of love and self-sacrifice beautifully reflect the growing connection between Valentin and Molina.

Movies

I’m really excited about the upcoming film adaptation of “Kiss of the Spider Woman.” It’s introducing Tonatiuh, a seriously talented actor from L.A., and I have a feeling this role is going to launch his career – he’s definitely one to watch!

The musical numbers aren’t particularly memorable, especially considering the composers, John Kander and Fred Ebb, previously created the vibrant and edgy score for “Cabaret.” In one song, Ingrid (played by Lopez) invites Molina to escape into fantasy, while dancers behind them move in a way that suggests distress. (A bit more dark humor would have been welcome.) Though the music isn’t catchy, it delivers a powerful message: it’s alright to take moments of respite and recharge during a struggle for freedom.

Valentin, who has suffered greatly and seems emotionally detached, desperately needs some joy in his life. Unlike those writing about hardship, his story doesn’t easily move people. He’s incredibly strict with himself, even refusing medical attention and pain relief like morphine, fearing it would offer him any pleasure.

The two roommates playfully argue about how little pop culture Valentin seems to know, jokingly criticizing films like “Raging Bull” and actress Meryl Streep, and even teasing him for his insensitive theory that Ingrid’s character, Aurora, is cold because of a difficult childhood. (Molina just sighs and says, “Please, stop.”) But their conversation always circles back to the difference between reality and what’s shown in movies.

“I hate to break it to you,” Valentine says, “but nobody sings in real life.”

“Well, maybe they should,” Molina huffs.

Maybe in confinement they can’t.

Stephen Condon carefully controls which characters sing, and the reasons behind it. In the 1985 film, starring Raul Julia and Oscar-winner William Hurt, the characters remained silent throughout their imprisonment. However, the Broadway adaptation had all characters, even the grumpy Valentin, constantly singing. Condon intentionally creates this contrast to emphasize how important it is for his main characters to have the ability to freely express themselves.

“Kiss of the Spider Woman” explores themes of emotional reconnection for Valentin and self-discovery for Luis, who realizes he’s more than he thinks. However, at its heart, the film truly comes alive during scenes where the visual style dramatically changes. The gritty, claustrophobic atmosphere gives way to a dreamlike quality, signaled by a switch in camera work. It’s in these moments, as the characters transform and express themselves freely, that the film truly shines.

Previous versions of this story emphasized activism as the ultimate purpose – Valentin acting on his beliefs and Molina because of their friendship. Now, Condon prioritizes their shared humanity. He shows that caring for one another makes even a difficult world worth striving for, and that without happiness, we might as well be defeated.

Entertainment & Arts

Audiences will be captivated by Tonatiuh’s performance in “Kiss of the Spider Woman,” and rightfully so. This film marks his first leading role, and he truly shines as a fresh, exciting talent, bringing energy and a natural charisma to the screen. His performance is crucial to the film’s success, and he nearly nails it, even delivering a clever line when his character reacts to an injured man with a witty remark about wanting to hide. While some moments feel a bit overly performed, that’s also fitting for the character, who uses performance as a defense mechanism. Tonatiuh effectively conveys Molina’s past trauma through subtle reactions, hinting at the abuse he’s endured without needing explicit scenes.

To stay true to the 1983 setting, the character Tonatiuh Molina doesn’t use modern transgender terminology – he’s limited by the language available at the time. However, the story subtly shows Molina’s sadness when Valentin, meaning well, assures him, “You’re not a monster, you’re a man.” The director has also made a small but significant change to a key line at the end, altering it to, “Her name was Molina.”

Jennifer Lopez, playing the glamorous Ingrid – the lead in a movie that isn’t considered a classic – is completely transformed by layers of makeup and costuming. But she’s now at a point in her career where playing an icon feels natural. She’s moved past the image of being “just Jenny from the Block,” and the director has tailored the role to perfectly fit her strengths. This is evident in lines like, “No matter how hard Hollywood tried to make her all-American, she never stopped being Latin,” but even more so in Lopez’s obvious enjoyment as she confidently shows off her physique and hair. She excels in the role, particularly during a lengthy nightclub scene where she and the dancers are given a full minute to perform. Most notably, she elegantly grabs a martini, does a one-legged spin to the floor, and then smoothly gets back up, cheering with the crowd.

Lopez struggles to fully captivate as the villainous Spider Woman – a dramatic character with sharp hair and claws who kills with a kiss. The elaborate Spider Woman scenes feel dated, referencing a similar spectacle from the original ’90s musical featuring Chita Rivera. These sequences limit Lopez to mostly just a menacing smile. However, this is a welcome change from the way the choreography was broken up with close-ups in the movie ‘Chicago’, and the new film avoids those awkward camera angles. It feels like the director is making amends, giving musical fans what they want: a chance to see Lopez perform all the dancing.

Luna’s performance is still my favorite. His character, Valentin, is powerfully built but also shows a surprising softness – he’s like a determined underdog facing a huge challenge. He doesn’t feel like he’s *trying* to impress, yet his performance is captivating. It’s incredibly moving to watch him become gentler, and it truly tugs at your emotions. In a lovely touch, the director revisits a song from the original musical, letting Luna sing about being a regular guy. His voice isn’t flawless, but it’s wonderfully warm and genuine. Even when Valentin is at his worst – grumpy and messy – you understand why Molina sees him as the perfect romantic partner.

I won’t give away the ending, but Condon powerfully reinforces his idea that music brings freedom with a final scene set after the dictatorship is overthrown. The camera focuses on the jail as prisoners rush into the courtyard, then pans out to show the streets overflowing with people. The sounds of car horns and impromptu music fill the air, symbolizing the nation’s newfound freedom to express itself through song.

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2025-10-09 23:01