Jefferson in Paris, Maria in the Garden, Sally in a Scheme

By Sabrina Velazquez

[1] When Jefferson, Sally, and Maria are in the garden, we see their “love triangle” finally unfold and come to an end (1:49:27). The whole dynamic between the three characters is amplified in this scene. By only viewing this one section of the film, one could probably understand most of the plot. We can get a good sense of who the characters are and understand their relationships by examining this scene in the garden. Sally’s flirting and unbridled ways, the differences between Sally and Maria, and the spatial relationships between the characters in this scene give us insight to what the characters are thinking and feeling. These three elements of the scene are crucial to the plot, the end of Jefferson’s relationship with Maria, and the beginning of his relationship with Sally.

[2] Sally’s constant flirting and tempting throughout the film come to a boiling point here; it leaves us to wonder if she is innocent or if she has an agenda. We know that Sally Hemings was only fifteen-years-old when she went to Paris, just barely becoming a woman. But did she grasp her sexuality more than we think? Sally wears her dresses low, dances and sings, is somewhat “wild,” and sparks curiosity in Jefferson. Throughout the film we wonder if Sally is doing these things on purpose or if it is merely her childish, playful way. In the garden it becomes pretty clear that Sally has intentions behind her actions. Initially, only Maria and Sally are in the garden talking politely. When Jefferson enters, Sally lowers her voice and quickly begins to leave like any obedient girl would have. But just as she is exiting, Sally suggestively bumps Jefferson with her hip and gives a sharp look back to Maria. Maria shifts her eyes awkwardly between Jefferson and Sally and, after a moment, finally begins to speak to him. It is clearly not an accident that Sally bumped into Jefferson, especially in front of Maria. As classmate Anna Robertson says, it is a “symbol of Hemings trying to ‘claim’ her territory.” Sally had a plan here. When she looks back at Maria it is almost as if to say, “Stay away.” We think Sally is gone from the scene, as any other slave would have been, but she shortly reenters. She walks right up to Jefferson and Maria with a basket of corn and prepares a piece for Maria. While Maria shyly examines the corn, Sally licks her fingers and smiles. Sally is unrefined and clearly trying to evoke the attention of Jefferson -- and Maria -- through her actions.

[3] Quite contrary to Sally, Maria Cosway is refined, elegant and very restrained. There are many differences between the two women, including the way they act and dress. Sally and Maria have similar dresses and necklaces, but there is an obvious difference. Maria’s necklace hangs low at her stomach and bears a cross, and she has extra fabric at the top of her dress to conceal her chest. On the other hand, Sally wears her necklace right at her breasts, and her necklace has a heart hanging from it. While Maria is conservative and traditional, Sally is more seductive. The way they treat the corn is an important part to this comparison. Sally talks about how much she loves it and licks her fingers while Maria has difficulty simply picking it up and does not even take a bite. The two women have very different relationships with Jefferson, and Maria finally begins to notice that in this scene. Maria initially came to tell Jefferson how differently he has been acting towards her and how they have not had many passionate and “unguarded moments” like the day they walked in the woods together. Just when he is telling her he fears these unguarded moments is the point when Sally walks up to them and begins laughing and joking with Jefferson. It is clear in Maria’s facial expression that she finally understands the difference between her and Sally and what is going on between them.

[4] This scene is directed very well because the spatial relationships between the three individuals are very telling of their emotional relationships. Maria is always standing stark, upright, and with her arms folded. Her body language is cold and aloof. Sally, on the other hand, constantly has her arms down, chest pushed forward, and almost sways when she stands. Her stance is much more inviting and easygoing than that of Maria. When Sally approaches Maria and Jefferson in the garden, Maria moves out of the way, and Sally and Jefferson face each other. Maria is literally and figuratively pushed to the background at this point. As Jefferson and Sally lean in towards each other and talk and laugh, Maria drifts back unnoticed. Finally, at the very end of this scene, Maria is walking away from Jefferson, and he is chasing after her. They have a few final words before she finally departs and a blurry image of Sally appears in the background as Jefferson watches Maria leave. If we could see Sally’s face, we would assume that she has a sly, satisfied look on her face. Maria is permanently out of the picture.

[5] This scene sums up the entire movie. Sally and Jefferson’s relationship is not only solidified in their later consummation, but right here in the garden. Sally exerts her power and ability to manipulate. Although Sally does not seem very bright through the rest of the movie, when it comes to Thomas Jefferson, she seems to know what she is doing. Her obvious flirting is not only to entice him, but also to drive away Maria. This scene moves in the direction that Sally chooses. She has total power here whether she realizes it or not. This scene highlights the differences between the two women and Jefferson’s relationship with them. It is very important to the rest of the film and solidifies their future.