In 2002, “Spider-Man” gave us the kiss of the Spider Man, upside down with Kirsten Dunst. More than 20 years later, we finally get the “Kiss of the Spider-Woman.”
The movie is the latest adaptation of the 1976 Argentinian novel of the same name. It’s previously been adapted as a film in 1985 and as a stage musical in 1992. This film takes inspiration from that stage production, as it too is presented as a musical experience.
The movie centers on a pair of men in a prison cell together during Argentina’s Dirty War from 1974-1983. Valentin (Diego Luna) is a political dissident with revolutionary goals while Luis (Tonatiuh Elizarraz) is a gay man arrested for public indecency. During their time together, Luis describes the story of a film he’s a fan of featuring The Spider Woman.
“Kiss of the Spider Woman” is one part old Hollywood musical and one part period piece prison drama. In each section of the film, there are strong scenes and compelling moments, making for a film with plenty going on to appreciate. However, its two distinct segments cause the film to falter, too.
A key issue is the fracture between the events taking place inside the prison and the ongoing recap Luis is telling about the Spider Woman movie. While there are clear parallels between the two sides of this film’s coin, including Luna and Elizarraz also playing characters in the recap scenes, there still feels like an overall disconnect.
Another issue is, by spending a lot of time with the fantastical scenes as the Spider Woman flick is recapped, the unfolding of the main story in prison feels a bit sidelined. This ultimately leads to the main relationship at the film’s center seeming underdeveloped. It’s perhaps something that worked better on stage or in the novel, but it isn’t as effectively rolled out here.
It’s too bad because, again, there are positives featured. The sequences taking place inside the recap portions are vibrant, colorful and contain good musical set pieces. Jennifer Lopez lends her talents in the song department and delivers where it counts. There are also large-scale dance sequences with solid choreography, which as said before, are reminiscent of classic musicals.
One can also appreciate the scope and different filmmaking techniques and crew efforts. In both sections of the film, the costume, set and production design is high quality. It gets across the grit of scenes in prison and romanticizes the parts where musical sequences are taking place.
The two leads are also quite good in their roles. Luna is natural as the revolutionary who begins focused on the struggle against authoritarianism, but rediscovers the ability to appreciate art through Luna’s story. Elizarraz, meanwhile, who brings more experience in television than movies, is also solid in his capacity.
He is essential in both portions of the film, and in Luis, he convincingly portrays a character who acts as a reminder of what Valentin is fighting for in the first place. Both performers also have a noteworthy deal of chemistry, which really helps drive the time the two characters have in the prison cell.
It’s just a shame all of the good parts didn’t come together as a better whole. The acting, musical performances and technical artistry are advantages, yet the way the film is plotted and how key events are developed are lacking, causing it to struggle as a complete experience. 3.25 out of 5.
Matthew Liedke on Film 