Patsy’s Scorching Anger: Patsy and Maria by the Fire in Jefferson in Paris

By Anna Robertson

[1] The scene in which Patsy Jefferson tells Maria Cosway that she intends to take her vows and become a Catholic nun (1:45:00) is one of the few passionate scenes in the entirety of Jefferson in Paris. The scene gives the viewer intimate insight into Patsy’s character that could have, if presented at length and in more detail, created a much more successful film by the director. The scene explores Patsy’s inner turmoil over slavery and the angst she feels as she wrestles with discovering her opinion on it. The scene calls into question Patsy’s motivation in her struggle and whether it comes from genuine hatred of the complicated issue of slaves and slavery or from misplaced anger deflected from her father’s relationship with her slave nurse, Sally Hemings.

[2] The scene begins with Maria presenting Patsy with a gift with a picture of Thomas Jefferson inside. Instead of replying with gratitude, Patsy suddenly restates her father’s view of religion, claiming “Papa has always taught us that in matters of religion, everyone must be free to follow their own conscience” (1:45:35). Her strange reply leads the viewer to believe she is not only trying to convince Maria that her father believes it, but that she is trying to convince herself as well. Patsy knows her father will not approve of her plans to take her vows and become a Catholic nun despite Maria’s genuine encouragement, and yet the director leaves the issue of why Patsy decided to take her vows a mystery. The clear implication, however, is that the convent is an escape from the emotional tangle her father’s affair has created.

[3] When questioned about returning to Monticello, Patsy instantly refuses, shakily saying that she will remain in the convent to take her vows. Through her previous restatement of her father’s view of religion and her first response, the viewer realizes that Patsy appears extremely unsure of her decision to become a nun; however, Patsy vehemently states that she “[doesn’t] ever want to go back to Monticello” (1:46:21), a decision that she is much more solid in considering. The sudden change in Patsy’s tone immediately grasps the viewer’s attention, and whereas Patsy allows Maria to embrace her while discussing taking her vows, Patsy physically turns away from Maria when speaking of returning to Monticello. The small detail of body language in this scene is a key choice by the director.

[4] Patsy becomes more sure of herself as she begins to talk about slavery, although her true feelings on the matter are confused and she wrestles with her hatred of it. Her voice crackles with emotion as she pronounces the word “slaves” (1:47:07) and approaches the fireplace as she reaches the climax in her monologue, which verbalizes her hatred towards slaves and, more specifically, the hatred towards her slave nurse, Sally. The effect of the light of the flames playing on her face acts as an almost extended form of pathetic fallacy in the film. Patsy’s burning anger, whether directed towards slaves in general or simply her father’s relationship with a slave, consumes everything inside of her while she rants, just as the fire consumes the wood at her feet.

[5] Maria Cosway ironically brings up Sally Hemings after Patsy’s rant, after which Patsy storms over to a chair. Through her speech and her actions, it is clear that Patsy has begun to see Sally as a rival of sorts, since, in Patsy’s mind, Sally had been “stealing” Thomas Jefferson’s attention and affection. This is further demonstrated by how Jefferson later must affirm that Patsy will be mistress of Monticello (2:01:10). Maria, at this point in the scene, appears to pick up on Patsy’s awkwardness concerning the subject of Sally Hemings. When questioned as to what is wrong, Patsy states that she cannot speak to Maria because the conflict she is facing is “unspeakable” (1:48:27). The camera then moves to a very innocent scene in which Sally Hemings is removing Jefferson’s shoes and is helping him get ready for bed, a scene that does not remotely appear “unspeakable.” Patsy’s explosion thus prompts Cosway’s suspicion of Jefferson’s underlying interests in the “family relationship” (1:47:40) he has with his slaves, preparing us for their break-up in the garden scene that follows shortly (1:49).

[6] Overall, the use of body language and pathetic fallacy were clever choices by the director that enhanced the reality and emotionality of Patsy’s struggle with her views on slavery and her misplaced anger deflected from her father’s relationship with her slave nurse, Sally Hemings. The irony, acting, and passion without a doubt make this scene the most explanatory and indicative parts of the film on the issue of Thomas Jefferson’s relationship with Sally Hemings and how it affected his family and friends.