The downside first: Stealing Heaven suffers from a low budget, a poor sound-track, and the film itself has not worn well. The colors are alternately too muted and too bright to be realistic. It does have the look of a low-budget, European 80's film. Consider yourself warned.
That said, however, given the limitations, Stealing Heaven is one of the better portrayals of a neglected time and of an incredible pair of people. The story is based on the known facts of the love affair and marriage of Heloise and Abelard: that she studied with him (and new evidence calls into question the age difference between them), that he was celibate by custom, but not law, while he taught in Paris; that one or the other of them seduced the other; that Heloise refused marriage as a matter of principle, even after bearing Peter Abelard's child, an unthinkable act in the 12th century. That her uncle, not trusting Abelard, had him castrated, and that Heloise reluctantly entered a convent and made the best of it when Abelard requested it of her. There is a significant amount of speculation, because there is not a lot known, about their lives, and at the time of the making, less still than now.
The pacing is typically European - and effective for the story. The romance between Heloise and Peter did not develop over night, and while it was effectively ended that way, their relationship endured in fits and starts. The true strength of this film is Heloise, as she appeared to have been in the real pairing. She's definitely a woman not fitted to her time, far more independently minded than many women would attain for nearly a thousand years. The students, too, are pleasant comic relief.
That said, however, given the limitations, Stealing Heaven is one of the better portrayals of a neglected time and of an incredible pair of people. The story is based on the known facts of the love affair and marriage of Heloise and Abelard: that she studied with him (and new evidence calls into question the age difference between them), that he was celibate by custom, but not law, while he taught in Paris; that one or the other of them seduced the other; that Heloise refused marriage as a matter of principle, even after bearing Peter Abelard's child, an unthinkable act in the 12th century. That her uncle, not trusting Abelard, had him castrated, and that Heloise reluctantly entered a convent and made the best of it when Abelard requested it of her. There is a significant amount of speculation, because there is not a lot known, about their lives, and at the time of the making, less still than now.
The pacing is typically European - and effective for the story. The romance between Heloise and Peter did not develop over night, and while it was effectively ended that way, their relationship endured in fits and starts. The true strength of this film is Heloise, as she appeared to have been in the real pairing. She's definitely a woman not fitted to her time, far more independently minded than many women would attain for nearly a thousand years. The students, too, are pleasant comic relief.