“Madame Cosway Plays Well”: A Battle of Emotions in Jefferson in Paris

By Dan Carr

[1] The film Jefferson in Paris is a fictional account of Thomas Jefferson’s time spent in Paris after writing the Declaration of Independence. The film explores various facets of Jefferson’s life, from his political beliefs and views on cultural issues to his various love connections. Most obviously, the film is an interpretation of Jefferson’s relationship with Sally Hemings. It also more understatedly yet quite importantly examines Jefferson’s relationship to women in general, particularly through his relation to Madame Cosway and his daughter Patsy. The way in which Patsy and Madame Cosway interact around Jefferson often takes the form of an unspoken battle for affection, particularly in the “violin and piano” scene (0:32:43).

[2] It is important to note that the first section of the film prior to the violin scene is filled with several candid interactions between Jefferson and Madame Cosway in which the two divulge their backgrounds and touch upon their views on love. Jefferson seems smitten by Cosway at one of her small performances and meets with her in the chapel later. Here, Madame Cosway indirectly explains that she feels hindered by her husband, who encourages her to paint but not to make her work public. Although it is in context to the culture of the time, there is a clear sense of flirtation in these scenes that sets up the basis for the subdued jealousy that Patsy shows in the violin scene.

[3] The aforementioned battle, albeit quite subliminal, is displayed quite effectively when Patsy views Jefferson and Madame Cosway literally making music together . Here, Patsy walks into the room adjacent to hers, where she had been for several hours getting her hair done, to find her father playing the violin while Madame Cosway plays the piano counterpart. After prolonged eye contact upon the final notes, the two cease playing and approach Patsy with a hint of surprise. Madame Cosway takes hold of an apprehensive Patsy and remarks, “I would be proud to have such a pretty daughter,” while simultaneously placing a pin in Patsy’s supposedly finished hairstyle. This action shows a type of mothering that Patsy surely does not want in the wake of her mother’s death, yet it is also an attempt to fix Patsy up just a bit more. After their short interaction the two lock eyes with Jefferson, as the camera gives us a view from over Jefferson’s shoulder into the eyes of the two women who clearly show affection for him. This is an interesting shot because although the two stare at him simultaneously, they do so with completely different emotional perspectives. The scene ends seconds later with a solo shot of Patsy in the hallway. She seems disgusted with her superficial hair and proceeds to frantically rip out the fake extensions.

[4] From one side of the interaction, the film shows that Jefferson, unlike her husband, is a down-to-earth outlet for Madame Cosway’s more artistic side. Jefferson is far from superficial and thus has no problem with a woman expressing herself through music and open speech as Madame Cosway does during their time together. Although these actions would be more than acceptable by modern standards, Jefferson’s ability to create a comfortable environment in which Madame Cosway can express herself is the reason for her affection towards him.

[5] Conversely, Patsy feels threatened by Madame Cosway’s growing affection. In the wake of her mother’s death she is wary of her father and another woman being so comfortable around one another, and in this scene Madame Cosway literally replaces Patsy as Jefferson’s musical partner. This nervousness is what leads Patsy to become so quickly uncomfortable with her appearance, because it is in rebellion to Madame Cosway’s advance towards mothering. She pulls her crafted hair apart to retain her identity as her father’s daughter. Although she does not comment to her father on her growing jealousy, the artistry of the film conveys it through her longing eyes and pursed lips.

[6] This scene is an exceptional yet understated step towards building the triangle of emotions between Jefferson, Patsy, and Madame Cosway. Later, as the intimacy between Jefferson and Sally Hemings grows, the situation becomes even more complex, but the theme of battling emotions remains constant throughout the film.