Review of Kiss of the Spider Woman (1985) by Spencer S — 14 May 2012

An inner look into the South American penal system, and the role of political prisoners amongst the fray of the prison in general, Kiss of a Spider Woman is either identifying the wrongs of an entire country's political system or focusing on the imaginary and wonderful.

Two convicted men share a cell, one wrongfully accused of crimes that have left them forgotten and wronged alongside a statutory rapist. Most of the film carries on between the two of them, as one of the cellmates is a political prisoner who watches daily as his comrades are tortured for information about the resistance and the other is a drag queen who wishes vehemently to be a woman and finally be loved.

As we watch the political prisoner (Julia) take out his fury on everyone, including the drag queen (Hurt) it becomes clear that this isn't altogether about the political climate in Brazil, or the loss in that country as well as the infuriating lack of upholding human rights.

All during the film, Luis Molina (Hurt) tells a story about a Nazi propaganda film he once saw, that was a romance about a French spy nightclub singer who falls in love with a Nazi officer, which is a story that seamlessly revolves around the existing storyline of Molina and Arregui (Julia).

As it all unfolds the friendship between the two troubled souls becomes tender and loving, and they actually care for one another, eventually leading to the same sacrifices and acts of kindness in the movie Molina recounts.

The fact that they do parallel each other is what makes the film beautiful and poignant, giving life and romance to a love story that can't be classified as such unless you see the same similarities between them.

Though the film is a clear commentary on the Brazilian government and the wartime implications of its tactics to manipulate political prisoners, it's also a love story, a story of friendship and trust, and giving yourself over to a cause to change the ways of the world, lest you be eaten alive otherwise.

It's really very moving and graceful, even if slow and without a flair, and having an inert style.