Kiss of the Spider Woman (film)

As noted in Puig's 2001 biography, Manuel Puig and the Spider Woman: His Life and Fictions, the novel was banned in Argentina, and the English translation edition preceded a widespread publication in Spanish. The novel was considered for a film adaptation by Rainer Werner Fassbinder and other directors. In 1981, Argentine-born director Héctor Babenco was in Los Angeles, to accept an award from the Los Angeles Film Critics Association for his breakout feature film, Pixote. At the reception, Los Angeles Times critic Kevin Thomas asked Babenco about his future projects, and the director mentioned his desire to adapt Puig's novel, starring Burt Lancaster. The actor was in attendance at the event, and Thomas introduced him to Babenco.

When Lancaster expressed interest, Babenco initially assumed he was disingenuous, but promised to send him a copy of the novel. Several days later, Lancaster's assistant telephoned Babenco to make sure Kiss of the Spider Woman was in the mail, and the director sent it right away. The two met in the coming weeks at the New York Critics’ award ceremony, and Lancaster committed to the role of Molina.[6][7]

Babenco met American producer David Weisman in early 1982 through a mutual friend to discuss bringing “Latin American magical realism” into the mainstream. Although Lancaster was attached, giving it built in marketability, the novel's untraditional narrative made it a challenge to adapt, and its homosexual theme was perceived as a detriment to attracting widespread audiences. Babenco, who was an expatriate in Brazil at that time, feared a xenophobic backlash against the production for casting American actors. Additional obstacles to the production included Manuel Puig's antagonism toward Babenco; he did not like Pixote, and suspected the director was an “opportunist.”

Babenco continued to develop the property despite the author's misgivings, and attracted potential investors, including German filmmaker Frank Ripploh. Richard Gere was set to play Valentin, giving the production further box-office credibility. New York City socialite Jane Holzer, who appeared in several Andy Warhol films and was an acquaintance of David Weisman, agreed to finance initial production costs, and Leonard Schrader, who had collaborated with his brother, Paul Schrader, on The Yakuza, was hired to write the script. However, Babenco remained wary of anglicizing the source material, and was relieved by the casting of Puerto Rican actor Raul Julia, who replaced Richard Gere.

Meanwhile, rumors circulated in the press that Lancaster had a penchant for cross-dressing, and Babenco attempted to dispel the scandal at the Cannes Film Festival by telling a French gay tabloid that he did not know Lancaster was homosexual when he was cast. Although Babenco intended to imply that Lancaster was not gay, and his sexual orientation had nothing to do with the actor's involvement with the film, his statement was taken out of context when it was published, and prompted further inquisition into Lancaster's personal life. This, along with Lancaster's advancing age, and a heart bypass operation in Apr 1983, caused the production to be delayed, and the filmmakers turned to William Hurt as a replacement. The morning after Hurt consented to the role, Weisman and Babenco met with independent producer Ray Stark, whose company, Rastar, had been acquired by Columbia Pictures. Stark agreed to take on the project at that time, but neither he nor Columbia are credited onscreen.

The picture's expected $1.5 million budget was financed in part by Brazil's Embrafilme, which purchased Brazilian distribution rights for $160,000. Below-the-line expenses were raised by Babenco's HB Filmes, and international production services were funded by Weisman's Sugarloaf Films, Inc. The crew was mainly Brazilian, accompanied by several Argentine-born craftsmen. Rehearsals took place in a São Paulo prison that had been vacated in the wake of riots, and sets were constructed at Vera Cruz Studios, which had been abandoned due to bankruptcy.

The film's setting was relocated from Argentina to Brazil, with the added political context of the then-current Brazilian military dictatorship.

The story features a "film within a film", featuring Luis Molina episodically telling Valentin Arregui the plot of a fictional film called Her Real Glory ostensibly produced in Germany during Second World War by the Nazis.

While the book alludes to five motion pictures, the film version focuses on a single Nazi propaganda movie. Puig biographer Suzanne Jill Levine identified the film as a compilation of various Third Reich productions with the American Paris Underground and Die große Liebe (The Great Love), a 1942 film starring Zarah Leander as a cabaret singer who falls in love with high-ranking German lieutenant. Leander was the model for the Kiss of the Spider Woman’s “Leni Lamaison,” who was named after propaganda filmmaker Leni Riefenstahl.

Principal photography began October 13, 1983 in São Paulo, Brazil. Since Babenco "rarely" spoke English, Hurt took direction from him via an assistant director.[7] Hurt and Julia had agreed to work for the Screen Actors Guild pay scale, and deferred the greater portion of their salaries for a profit-share in the sale of the film's distribution rights, as well as its box-office gross. While Babenco and Weisman were also working for the same “deferred investment plan,” other players, including actress Sônia Braga, opted to be paid upfront. During filming in Brazil, Hurt and a friend were threatened at gunpoint but were let go several hours later.[8]

The film received positive reviews. Review aggregation website Rotten Tomatoes gives it a rating of 86% based on reviews from 35 critics. The site's consensus states; "Kiss of the Spider Woman weaves an alluring exploration of sexual and societal norms that's further elevated by strong work from William Hurt and Raul Julia."[4]

Roger Ebert gave the film three and a half stars out of four, calling it a "film of insights and surprises" and remarking that "the performances are wonderful."[9] James Berardinelli gave Kiss of the Spider Woman three stars out of four, calling it "a fascinating character study." Reviewing the film in 2009, Berardinelli claimed that it "has lost none of its power over the years," and felt that while it was not the best film of 1985, it was more deserving of the Best Picture Academy Award than Out of Africa.[10]

The DVD version contains a bonus disc with a 108-minute documentary (accessible in English via subtitles) Tangled Web: Making 'Kiss of the Spider Woman' (2008). The documentary treats the making of the film, the careers of the writers, actors and producers, and the post-production history of the film.[11]