Jefferson's Silent Acknowledgment

By Kelley Higgins

"His general temperament was smooth and even; he was very undemonstrative. He was uniformly kind to all about him. He was not in the habit of showing partiality or fatherly affection to us children. We were the only children of his by a slave woman. He was affectionate toward his white grandchildren, of whom he had fourteen, twelve of whom lived to manhood and womanhood."

[1] Through Sally Hemings: An American Scandal, Tina Andrews attempts to publicize the secret interracial love affair of our third president and scrutinize him in emphasizing that “Mr. Jefferson, I really felt, disappointed Sally Hemings” (Tina Andrews interview). In particular, however, this scene in which the adult Tom returns to Monticello goes against Andrews’ mission because Jefferson never prevents Sally from leaving when her son Tom offers to take her “home.” Sally willingly chooses to stay at the plantation. In fact, Hemings has the opportunity multiple times to leave Jefferson, first and as far back as in Paris, but she never takes it. This scene actually shows Sally’s lack of disappointment in Jefferson because she seems very content and proud of him for interacting so positively with Tom. It captures her final decision to sacrifice her freedom in exchange for her love for Jefferson. In the end, Andrews should be disappointed in Hemings for letting her concealed love affair interfere with her mission as a slave: to be free.

[2] The scene is significant because, for the first time, it captures Jefferson interacting with one of his illegitimate children as two mature adults. It is a trying and telling moment because Jefferson’s reaction is so unpredictable but so crucial in determining Sally’s future commitment to Jefferson.

[3] Jefferson is sitting at his desk and looks out the window to see Sally approaching her son, Tom, in the yard. Jefferson comes outside to greet him, and shortly after their introduction he coincidentally asks for the time. Tom hesitates, Sally looks nervously at Tom, and Tom hands Mr. Jefferson a watch, which is Jefferson’s. This moment is one that has the potential to define Jefferson and Sally’s relationship because Jefferson has the ability to accept or deny the truth about his love affair and the children that he has fathered. Jefferson, knowing the watch belongs to him, carefully does not say anything. Instead, he mentions he has a fob that goes with the watch that Tom can have. Tom thanks “Mr. Jefferson,” and Jefferson remains almost speechless. He starts to say something, looks up then down, very at ease, and just smiles. The viewer is led to believe that Jefferson wants to say more here and that he wants to convey that it’s the least he can do for Tom. His eye contact and facial expression say everything and reveal his pride in this moment in seeing Tom and knowing that he at least did something for him.

[4] It would seem as though there was some understanding that Jefferson was doing the “unnamed children” a favor by allowing them to escape the scandal and be free. After all, he must have been well respected by these slaves, for one, Tom, to return to the plantation years later and face Jefferson in person. And Jefferson had to have been motivated in some way to act the way he did in the last scene. How does a man who is the head of the plantation and observes his slaves nearly everyday not recognize one of his former slaves and actually believe him when he pretends his name is Tom Woodson? There is too much deliberate ignorance of certain matters, the watch in particular, for Jefferson to truly think he is meeting the man for the first time. And as much as Andrews may want to discredit Jefferson for his lack of paternal ownership and courage in admitting to his relationship, she paints Jefferson to be a somewhat respectable father-figure in the end.

[5] Sally’s facial expression in this scene reveals Jefferson’s realization and her content with him in maintaining as pleasant a relationship as possible with Tom, given the situation. Sally then professes, “This is my home, Tom. The Hemings are as much a part of Monticello as the Jeffersons. I cannot leave here, and I cannot leave him.” It is almost as if Sally had some doubt in Jefferson before this scene and was losing some faith in the love she thought they shared. But Jefferson’s peaceful encounter and generosity towards Tom assures Sally that Jefferson does value their relationship enough to not call Tom out for the watch being his. In a way, this scene catches the three sharing a crucial “family moment.” No words need to be said here for the audience to observe that there is some understanding of who Tom truly is, and there is a calm, reassuring feeling that resonates in each of their expressions. Tom then responds, “I know that now, Mama,” which communicates his acceptance and appreciation for Jefferson in his mother’s life.

[6] Although the viewer may not feel completely satisfied with Jefferson, because his affair with Hemings is still concealed in the public eye, his final acknowledgment (though non-verbal) proves that he is a decent man who was simply caught in a sticky situation that he couldn’t talk his way out of. And even if he had tried to come clean, I think Jefferson knows that it would have done nothing for Sally except to cause her more scrutiny and to feed into the scandal even more. In the end, what is most important is the realization that Jefferson does not allow the critics to compromise his love for Sally and that he does acknowledge this other family that still exists, even though it is absent of a title. Though Andrews attempts to debase Jefferson for his failure to publicly accept this relationship with Hemings, Annette Gordon-Reed defends him: “Jefferson kept his promises to Hemings, and their offspring got a four-decade head start on emancipation, making the most of it by leading prosperous and stable lives. That, I think, is about as much as one can expect from love in the context of life during American slavery.”

[7] Whether the scene occurred in “real” history or was merely edited into Andrews’ “reel” portrayal, it goes against her initial agenda to empower black women and reveal interracial love. It goes to show that Jefferson is still enough of a respected historical leader that, despite the racist things he may have written, Andrews has too difficult a time stripping him of his humane qualities.