Mona Lisa Smile 2003

In 1953, Katherine Watson (Julia Roberts), a trailblazing Ph.D. student from Oakland State University, takes up residence at Wellesley College as its newest Art History instructor. This unorthodox choice sparks curiosity among the institution’s stalwart faculty and students, accustomed to a more refined, upper-crust atmosphere. President Jocelyn Carr (Marian Seldes), the stalwart leader of this most conservative institution in the United States, welcomes Katherine with a mix of caution and skepticism.

As Katherine navigates her new role, she quickly realizes that her academic credentials have a profound impact on how her students perceive her. Moreover, she discovers that these book-smart young women are struggling to think for themselves, their minds muzzled by the predetermined paths laid out by their parents and the college administration – paths that prioritize marrying well and adhering to traditional values.

Katherine’s art history class is comprised of a group of students, including Betty Warren (Kirsten Dunst), Joan (Julia Stiles), Giselle Levy (Maggie Gyllenhaal), Susan Delacorte (Laura Allen), and Connie (Ginnifer Goodwin), who have already devoured the required texts before even setting foot in her classroom. They patronizingly imply that Katherine’s expertise is redundant, rudely excusing themselves from her class. In stark contrast, Amanda (Juliet Stevenson) and Nancy (Marcia Gay Harden), Katherine’s apartment mates, embody a sense of free-spiritedness – Amanda, the college nurse, is a lesbian whose partner was a beloved biology teacher who recently passed away.

Bill Dunbar (Dominic West), a charismatic fellow instructor, has earned a reputation for his questionable relationships with students. Betty, meanwhile, wields significant influence as an editor at the school newspaper, often shaping popular opinion on critical issues with her conservative views.

Amidst this stifling atmosphere, Katherine senses the presence of pockets of free thinking among both faculty and students, but these thoughts are typically quashed by the institution’s pervasive tone. Undeterred, she decides to challenge her students’ perspectives by introducing unorthodox topics and images from art history, encouraging lively debate on their merits and demerits.

Betty remains steadfast in her conservative views, dismissing any notion of women’s liberation as radical and unacceptable. Giselle, meanwhile, embodies a sensual energy that sets her apart from the rest.

As Giselle tentatively concedes that women like Katherine can chart their own paths, sans husband and family, her friend Betty remains steadfast in her conviction that any woman’s sole purpose is to facilitate the advancement of her partner. Meanwhile, school nurse Amanda discreetly dispenses contraception, unaware that her actions will soon lead to her termination at the hands of Betty’s mother, Donna Mitchell, president of the alumni association, who takes umbrage with Amanda’s unorthodox approach.

In another corner of Wesley, Joan harbors a secret ambition: to attend Yale Law School. However, she is willing to sacrifice her own aspirations for marriage and family, encouraged by her friend Katherine to pursue her dreams. Enter Tommy, a well-connected suitor who woos Joan with lavish gifts and romantic overtures.

As Betty’s own marital plans unfold, she sees her lifelong friend Joan as the epitome of domestic bliss: marrying into wealth, raising children, and living next door to her friends in an idyllic suburban paradise. Little does she know that her fiancé Spencer is on excellent terms with her best friend Beth, who just so happens to be engaged to the very same Tommy vying for Joan’s affections.

Meanwhile, Katherine notices Giselle’s increasing fascination with Bill Dunbar, unaware of their tumultuous past. As Giselle becomes jealous of the attention Bill lavishes upon Katherine, she pleads with him to rekindle their romance, only to be rebuffed and left to pine in solitude.

As Betty departs for her honeymoon, a palpable sense of liberation washes over the class, as they begin to appreciate the value of diverse perspectives. However, Joan’s acceptance into Yale Law School sends shockwaves through the group, particularly Betty, who is incensed by what she perceives as a personal betrayal.

In the midst of this tumult, Kath’s boyfriend Paul visits her over Christmas, but their romantic truce is short-lived, as Nancy’s draconian house rules force him to sleep on the couch. Paul proposes to Kath, only to be met with rejection.

Betty returns from her honeymoon, missing six classes in the process, and finds herself at odds with Katherine, who threatens to fail her for her transgressions. As tensions escalate, Betty warns Kath not to disrespect their shared traditions simply because she has chosen a non-traditional path. In response, Kathy pens an editorial that sparks outrage among the Wesley community, as Betty accuses her of threatening time-honored marriage values and traditions.

In this charged atmosphere, the very fabric of their relationships is tested, as each woman must navigate her own desires, ambitions, and sense of self in a world where societal expectations often seem at odds with personal aspirations.

As Katherine’s passion for empowering the next generation of leaders is met with criticism, she takes a stand against the traditional norms that stifle the minds of the smartest girls in the country. With unwavering conviction, she reveals how contemporary art perpetuates the suppression of free-thinking women and elevates those willing to sacrifice their ambitions at the altar of marriage. Her words strike a chord, prompting the students to reevaluate the societal expectations placed upon them.

Meanwhile, Dunbar gently nudges Kath towards a new perspective, cautioning her that change takes time and emphasizing the importance of allowing others to catch up with her innovative thinking. As they grow closer, their relationship blossoms, earning Kath the nickname “Mona Lisa” for her radiant smile. However, this newfound intimacy sparks controversy when Kath’s colleagues learn of their affair, leading Nancy to pass judgment.

In a separate narrative thread, Connie’s relationships with Charlie (Ebon Moss-Bachrach) and Betty are fraught with manipulation and deception. Initially, Connie is led to believe she was Charlie’s mistress, only to discover the truth: he had no girlfriend at the time and was simply not interested in her as part of his social circle. The pair ultimately reconcile.

As the story unfolds, Kath is shocked to learn that Joan has been accepted into Yale, only to be told by Joan herself that it was a deliberate choice to prioritize marriage over academia. This revelation underscores the complex reality that not every housewife is a sellout of her dreams and ambitions.

Betty’s own struggles with infidelity come to light when Giselle exposes Spencer’s extramarital affair, leaving Betty a tearful mess in her arms. Meanwhile, Kath’s unconventional approach to teaching yields remarkable results, earning her the highest enrollment figures for any faculty member at year-end. As a result, the board of directors extends an offer to Kath, conditional on her adherence to the prescribed syllabus and submission of class plans for review and modification – with Betty serving as her strongest advocate.

In a final twist, Kath meets Stan, a friend of Bill’s, only to discover that Bill has been living a lie. He had never actually traveled to Europe, and his fabricated tales about being an Italian had been intended to impress. Devastated by this revelation, Kath ends their relationship, unable to reconcile the disparity between Bill’s words and reality.

As the final months of the year drew to a close, a profound transformation took hold among Kath’s classmates, who had grown to not only tolerate but genuinely appreciate her unique perspective on art. In fact, they began to engage in spirited discussions about the very essence of creative expression, with Kath at the forefront, sharing her insights and inspiring her peers. Meanwhile, Betty’s personal life underwent a seismic shift as she initiated divorce proceedings, subsequently embarking on a new chapter by moving into an apartment shared with Giselle. And in a bold move that reflected her growing sense of independence, Kath made the decision to abandon her college studies and set off for Europe, ready to immerse herself in the rich cultural tapestry of the continent and explore the depths of her own artistic identity.