Stealing Heaven is a 1988 film depicting the historical romance of Peter Abelard and Heloise. In it
Abelard (a 12th century philosopher and university professor) and Heloise (a famously learned and brilliant woman who he tutored) debate, love, marry, and are tragically separated. In a rather unusual twist for a medieval movie the most significant inaccuracies lie not in the depictions of the lifestyle, society, dress, or timeline, but the far more banal romanization and oversimplification of two real people who were just a little bit more flawed than the movie shows. Mostly Abelard—like 90% Abelard.
The movie depicts this young scholar as charming, brilliant, beloved by his students and envied by his peers. This is all completely in line with historical records. Of course, it overlooks that the historical Abelard had an ego that was at least as significant as his reputation. But, for all his flaws, historical Abelard can’t be accused of not knowing the proper ranking of Heloise’s virtues as he makes plain, saying “Of no mean beauty, she stood out above all by reason of her abundant knowledge of letters." (Abelard)
While the movie does far more justice to Heloise in respect to her character, and accurately represents
her wit and defiance, there are a few changes. Most significant is the films' strong implication of her
apostasy and possible atheism. While Heloise was certainly a remarkably independent minded woman,
there is no real evidence to support this interpretation of her attitude to religion. Otherwise, it might be
argued that historical Heloise was even more brilliant, accomplished, and respected, than the movie
allows. For example, Abelard writes later “For she is not only learned in Latin literature as well as
Hebrew and Greek, but, apparently alone in this age, she enjoys a command of all three languages.”
(Abelard)
Yet, the movie is in several ways quite faithful to history—surprisingly so. The first scene between
Abelard and his students introduces the concept of Sic et Non “Yes and No” and directly quotes Peter
Abelard’s most famous essay and impactful theological treatise. It also concisely communicates the
subversive and radical aspects of his teachings and 12th century universities; useful for a modern
audience who may not be read-up on medieval academic and church politics. Additionally, we are
introduced to the antagonistic relationship that Abelard had with many of the other contemporary
leading minds. Though Sic et Non was not actually published until after his and Heloise’s romance, it
is not impossible to imagine that the concept was something Abelard had been playing with before that.The film does provide an interesting window into some features of the early medieval European
university. The rowdy nature of the students for instance is very in keeping with our records of the time.
Additionally, it was (as the film asserts) customary for professors to be celibate. The odd and evolving
nature of the relationship between early universities and the church from which they sprang made
things a bit weird for some time.
In short, the movie presents a romanticized version of the place, people, and events—but not a
fundamentally false one. It avoids driving into either the ditch of medieval grim-dark, or the ditch of
Disney fantasy. While it certainly has a inaccuracies they are more in line with those commonly found
in modern bio-pic and certainly not on the level of gross misrepresentation that so many “medieval”
films often are.
Stealing Heaven. Directed by Clive Donner, novel by Marion Meade, J. Arthur Rank Film Distributors, 1988.
Abelard, Peter. Historia Calamitatum. Translated by Henry Adams Bellows. 1922
Abelard, Peter. The Letters of Abelard and Heloise. 1133.
