“The Buckle Scene”: A Turning Point in Jefferson in Paris

By Raquel Santos

[1] Although the buckle scene is one of the shortest scenes in the film (1:48), it reveals a great deal about Jefferson and Sally's relationship. It portrays Sally as more of a wife than a slave. The main theme of this scene is equality. It is interesting that director James Ivory included this ambiguous, virtually silent scene that sees Sally through a very different lens. By doing this, it seems as though Ivory is asking his viewers to look closely at their relationship because it is not just an affair between slave and master. In this scene Sally seems much more equal, or even superior to Jefferson compared to the longer scenes preceding and following this very short one.

[2] The preceding scene in which Patsy and Maria talk intimately seems to perfectly prepare the viewers for the buckle scene (1:45). Maria is completely oblivious to the relationship between Jefferson and Hemings, but it is obvious that Patsy knows and is highly disturbed by her father's affair. She develops a generalized hate towards all slaves because of this affair that causes her to want to stay in Paris and never go back to Monticello. This scene is a powerful contrast to the upcoming scene in which Jefferson and Sally are alone because Patsy blatantly points out that her father is "the master and they are the slaves," as if she needs to remind herself that they are not on her level. Patsy hates that the slaves can see and hear everything. She completely rejects the idea of whites and slaves on equal terms. Sally is an obvious threat to Patsy, both because she is near-white and because of the attention she receives from her father. At the mention of Sally's name, Patsy immediately becomes even more upset and frustrated, and Maria notices this awful reaction. Maria seems to realize that something is going on between Jefferson and this slave but cannot get a word about it out of Patsy. Patsy explicitly describes her father's relationship with Sally as "unspeakable," which is a perfect transition to the buckle scene.

[3] To the whites, especially those in Jefferson’s life, this slave-master closeness is an unacceptable and “unspeakable” affair, but in this scene it seems so natural. In this nearly wordless scene, Sally playfully sneaks into Jefferson’s bedroom, surprising him by putting her hands over his eyes. He says, “I can’t possibly guess,” because he knows that neither Maria nor his daughters would ever do anything slightly as humorous. It is ironic that Sally calls him “Massa” while she is basically ordering him to go to bed, and, ironically as well, he listens by closing his book and taking off his glasses. The couple seems much less awkward in this scene and more intimate in contrast to previous scenes in which they are alone. For instance, in the scene in which Jefferson and Sally are alone for the first time because James wants her to ask the master about wages (1:23), she acts very childishly, and there seems to be no romantic connection between the slave and master at all. However, in this scene, they seem very comfortable with each other and closely resemble a married couple as she rests her hands on his shoulders and sets his glasses down for him. Although Sally bends down to unbuckle Jefferson’s shoe, it appears to be more out of love and affection than slavery. When Jefferson attempts to stop her by placing his hand on hers, she takes it off and looks at him as if saying that she enjoys taking care of him. The scene symbolizes equality because for once Sally seems to be on Jefferson’s level, if not higher, by telling him to go to bed, and when she kneels down, Jefferson does not want her to. This is the first sign of Jefferson desiring equality with a slave. This very short scene suggests a shift in their relationship, which becomes quite obvious, not only to the viewers but to Maria as well in the scene following this one.

[4] In this next scene in Jefferson’s garden (1:49), it appears to be Sally’s goal to ruin the relationship between Jefferson and Maria because in the previous scene it is clear that Sally has true feelings for her master. At the beginning of the scene Sally playfully bumps into Jefferson right in front of Maria. This is obviously on purpose. After seeing the look on Maria’s face when Sally bumps into him, Jefferson seems to be much more flirtatious with her in order to save their relationship. Sally then steals James’s corn in order to have Maria taste it, but she is appalled at the low-class behavior Sally reveals by licking her fingers and at the intimate bond that is occurring between the slave and her master. At this moment it is clear that Sally and Jefferson are still on equal terms from the previous scene, while Maria shows a certain disgust not only at the greasy corn but by this connection between Jefferson and Sally and their American culture. Sally seems, once again, aware of the damage she has caused as Maria storms away. Jefferson chases after her and pleads for them to resume their “happy days.” Jefferson remains ignorant as to what has driven Maria off. He suffers her loss for a very short time after this, which proves that he was not very in love with her. He quickly switches his love over to Sally.