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Stealing Beauty (1996)

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After her mother commits suicide, nineteen year old Lucy Harmon travels to Italy to have her picture painted. However, she has other reasons for wanting to go. She wants to renew her ... See full summary »

Writers:

Bernardo Bertolucci (story), Susan Minot
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Popularity
3,366 ( 260)
3 wins & 11 nominations. See more awards »

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Cast

Cast overview, first billed only:
Carlo Cecchi Carlo Cecchi ... Carlo Lisca
Sinéad Cusack ... Diana (as Sinead Cusack)
Joseph Fiennes ... Christopher
Jason Flemyng ... Gregory
Anna Maria Gherardi Anna Maria Gherardi ... Chiarella Donati
Jeremy Irons ... Alex
Jean Marais ... M. Guillaume
Donal McCann ... Ian
D.W. Moffett ... Richard
Ignazio Oliva Ignazio Oliva ... Osvaldo Donati
Stefania Sandrelli ... Noemi
Francesco Siciliano ... Michele Lisca
Mary Jo Sorgani Mary Jo Sorgani ... Maria
Leonardo Treviglio Leonardo Treviglio ... Lieutenant
Liv Tyler ... Lucy Harmon
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Storyline

After her mother commits suicide, nineteen year old Lucy Harmon travels to Italy to have her picture painted. However, she has other reasons for wanting to go. She wants to renew her acquaintance with Nicolo Donati, a young boy with whom she fell in love on her last visit four years ago. She also is trying to solve the riddle left in a diary written by her dead mother, Sara. Written by Kale Whorton <nikko11@mind.net>

Plot Summary | Plot Synopsis

Taglines:

The most beautiful place to be is in love.

Genres:

Drama | Mystery | Romance

Motion Picture Rating (MPAA)

Rated R for strong sexuality, nudity, some drug use and language | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Cecchi Gori Group

Country:

Italy | France | UK

Language:

English | French | German | Spanish | Italian

Release Date:

14 June 1996 (USA) See more »

Also Known As:

Dancing by Myself See more »

Filming Locations:

Italy See more »

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Box Office

Budget:

$10,000,000 (estimated)

Opening Weekend USA:

$103,028, 16 June 1996, Limited Release

Gross USA:

$4,573,330, 15 September 1996
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color (Technicolor)

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

The three poems we see Lucy (Liv Tyler) compose while in Italy are:
  • 1. I have her secret deep within for years I've had to hide I've bought the clues And now I'm hope To bring the truth outside
  • 2. I wait I wait so patiently I'm as quiet as a cup I hope you'll come and rattle me Quick! Come wake me up.
  • 3. The dye is cast The dice are rolled I feel like shit you look like gold.
See more »

Goofs

When Lucy meets Richard at the pool, she puts her hand on the pool's edge twice. See more »

Quotes

[first lines]
Lucy: What are you doing?
See more »

Crazy Credits

During the opening credits, there is a montage of Lucy (Liv Tyler) being recorded on a video camera during her travel to Italy by an unknown man. See more »


Soundtracks

CHILL OUT (Things Gonna Change)
Performed by John Lee Hooker
Written by John Lee Hooker, Carlos Santana, Chester Thompson
Courtesy of Pointblank/Virgin Records America, Inc.
See more »

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User Reviews

Watch again and again to understand Bertolucci
19 October 2004 | by manufortdevSee all my reviews

This is my favorite film. I first saw it in 1996 at the age of 16, and have been relentlessly teased ever since for enjoying it as much as I do. True film buffs, I am told, walked out on this one. I insist though that I don't have bad taste; the film simply struck a chord in me early on, and yes, it was probably because its was such a pretty film. Beauty can be quite a hook. Since then I have watched Stealing Beauty no less than a hundred times, studied Bertolucci's other films, and - of course - listened to the soundtrack, and the Mozart Concerti, so much that I have been known to hum them in my sleep. Now, I know why I love it so much. Every time I watch Stealing Beauty, there is more to discover. The premise - looking for her father/true love - and the apparent conclusion seem no more than a frame work for a hundred different leitmotifs that Bertolucci seems strangely familiar with, fascinated by, and adept at expressing in all of his films.


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