Julia Stiles

Born 1981, she was the teen-Shakespeare queen of the late 90s and early 2000s—flinty and wry where others were bubbly, older-souled than the wave around her. From Kat Stratford's taming to Ophelia to Desdemona to a ballerina's breakthrough, she was the thinking kid's teen-movie star.

Julia Stiles was born March 28, 1981. She broke through on the biggest scale in 1999 as Kat Stratford in 10 Things I Hate About You opposite Heath Ledger, playing the smart, resistant girl who refused to perform femininity for the camera. The role earned her the MTV Movie Award for Breakthrough Female Performance—and positioned her, immediately, as something different from her teen-movie peers. She was flinty. She was wry. She read as older-souled than her years.

She quickly became the era's teen-Shakespeare queen. 10 Things was The Taming of the Shrew; in Michael Almereyda's Hamlet (2000) she played Ophelia opposite Ethan Hawke's prince; and in O (2001) she was Desi Brable—Desdemona in a prep-school Othello. Three Shakespeare adaptations in three years, a run no other star of the wave could match.

Her biggest hit as a lead came on January 12, 2001, when Save the Last Dance opened at #1 with $27.5 million and went on to gross over $131 million worldwide. She played Sara Johnson, an aspiring ballerina rebuilding her life in Chicago, and the film won her MTV Movie Awards for Best Kiss and Best Female Performance. It proved she could carry a hit on her own.

The Bourne Identity (2002) and The Bourne Supremacy (2004) gave her Nicky Parsons, the CIA handler—a supporting role that carried her past the teen era and kept growing with the franchise. In the same stretch she appeared in Mona Lisa Smile (2003) and The Prince and Me (2004). And through all of it she was enrolled at Columbia University, graduating in 2005 with a degree in English literature—the rare teen-wave star who was literally reading the source material between takes. Flinty, wry, and a little older-souled than the movies around her, she remains the era's evidence that a teen-movie breakout could be built on seriousness.

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