Kiss of the Spider Woman
From AwardAnnals
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| Director(s) | Hector Babenco |
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| Distributor | Polygram Video |
| Honors | |
| Kiss of the Spider Woman starts out simply enough, hemmed in by the narrow walls of a Latin American prison cell. Molina (William Hurt) is telling his new cellmate, Valentin (Raul Julia), his favorite story. Molina is a delicate homosexual imprisoned for seducing a minor; Valentin is a bearded revolutionary still bleeding from his interrogation. If their film unfolded into the typical prison buddy plot, it’d still be a good movie. But this is a great movie. There are stories twisting within stories, each drawing a new, surprising level of difference… | |
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Kiss of the Spider Woman starts out simply enough, hemmed in by the narrow walls of a Latin American prison cell. Molina (William Hurt) is telling his new cellmate, Valentin (Raul Julia), his favorite story. Molina is a delicate homosexual imprisoned for seducing a minor; Valentin is a bearded revolutionary still bleeding from his interrogation. If their film unfolded into the typical prison buddy plot, it’d still be a good movie. But this is a great movie. There are stories twisting within stories, each drawing a new, surprising level of difference between the two heroes: escapism versus realism, romance versus politics, gay versus straight, hero versus coward. As their unstable friendship grows more real, their stories become more vivid—whether Molina’s fondly remembered Nazi propaganda noir, Valentin’s tortured romantic history, or a tropical island fable told merely to pass the time. (Each substory stars Sonia Braga, a neat bit of casting that further blurs the line between fantasy and reality.) By the end, each man has changed just enough to taste the other’s tragedy—a transformation that gives each the strength to define freedom on his own terms, despite the brutality of the prison and the bleak world beyond its walls. —Grant Balfour
