Oscar-winning filmmaker Bill Condon shifts to another popular stage piece by John Kander and Fred Ebb, “Kiss of the Spider Woman,” this time with Jennifer Lopez as his muse.
The musical “Kiss of the Spider Woman” is based on the 1976 novel by Manuel Puig about cellmates in an Argentine prison, one a homosexual and the other a revolutionary, and the bond they form.
Condon uses the movies, specifically one film, as the source of the two inmates (played by Diego Luna and Tonatiuh Elizarraraz) which stars Lopez as the fictional actress Ingrid Luna.
The movie-within-the-movie is also named “Kiss of the Spider Woman,” where Lopez’s Luna plays Aurora while Luna and Elizarraraz take on dual roles, centering on the secret romance between Aurora and Luna’s other character Armando.
In the main storyline, Elizarraraz’s Molina is secretly spying on Luna’s Valentin to aid authorities end the revolution, but recounting Molina’s favorite movie and their idolization of Luna only brings the two closer.
Condon clearly has a connection to Kander and Ebb having won an Adapted Screenplay Oscar for 2002’s “Chicago,” a film that elements of appear in this new take as with another Kander and Ebb creation “Cabaret.”
That sets a high standard as “Cabaret” remains beloved and “Chicago” is the last musical to win the Best Picture Oscar, and it shows in how Condon chooses to present “Kiss of the Spider Woman.”
The filmmaker does everything he can to separate reality from fantasy, even taking out many of the songs set within the prison cell, and from a visual standpoint with the help of cinematographer and frequent collaborator Tobias A. Schliessler.
The best distinction in the latter is the impressive use of color, shining the most in the production design of Scott Chambliss, whose fantastical sets are reminiscent of “Singin’ in the Rain” and the epilogue of “La La Land.”
Also a standout in front of the camera are the costumes of Oscar winner Colleen Atwood, especially in the many dresses Lopez dons, no matter her character.
But tying everything together are the performances of Lopez, Luna and relative newcomer Elizarraraz (professionally known as Tonatiuh).
A star in her own right appearing in roles meant for her, this is easily Lopez’s best role since 2018’s “Hustlers.”
It’s a hard feat to match the late great Raul Julia (who played Valetin in a 1985 dramatic feature adaptation) but Luna, best known for “Y Tu Mama Tambien” and “Andor,” delivered the work and gave the depth required for Valentin.
On equal footing is Tonatiuh giving a remarkable performance that would make the late William Hurt, who won the Best Actor Oscar for playing Molina, proud.
Having a queer actor portraying Molina adds more to the authenticity that Puig had in his original story, and both Luna and Tonatiuh do well to keep it tight within the small changes Condon makes.
That may lead to some divisiveness on how this adaptation is received, but it can’t be denied that Lopez owns scenes whenever the camera is locked on her, and with Luna allow Tonatiuh to shine as Molina.
In many ways, this may be Lopez’s redemption tour, a star-in-the-making turn for Tonatiuh, and another fitting tribute to Ebb, Terrence McNally (the writer of the original musical), and the very first Aurora on stage Chita Rivera.