Jefferson and Sally “Do It” in Paris

By Keiko Akamine

[1] Jefferson and Sally’s first sex scene (1:55:15), if that is what it is to be called, is almost too subtle to represent such a momentous turning point in the movie. If one were not paying attention, the significance of this scene would be easy to miss. Overall, it is awkward to watch and does not seem to be leading up to any romantic encounter.

[2] The scene opens with Jefferson propped up in bed reading what appears to be a letter from Maria Cosway announcing her departure from Paris, thus ending their relationship. Sally eagerly and genuinely wants to cheer up her heart-broken master so she offers to sing him a song. He requests a sad one to match his mood but finds he cannot keep a straight face as he watches Sally wholeheartedly hum a somber tune. Jefferson begins to laugh, unable to bear the sadness of Sally’s song. Sally offers to show Jefferson a dance in order to break the uncomfortable silence that follows. The dance is awkwardly suggestive, as Sally thrusts her chest out like a bird, flaps her elbows like wings, and kicks her legs in the air, regardless of the fact that she is wearing a dress. As Sally begins to dance closer to Jefferson, he pulls her onto the bed so that she is lying down looking up at him. The mood of the scene changes instantly, going from an awkward and bright setting, to a dimly lit shot of Sally, with her hair spread out around her looking up at the camera. Jefferson then asks quietly, “are you still scared of me Sally?” to which she answers “I ain’t scared of you Massa.”

[3] Though as “the consummation scene,” this seems a bit abrupt and poorly done, it does provide insight into other aspects of their relationship. First, Sally’s age is clearly exemplified in this scene. She is criticized for acting childishly and coquettishly, but the truth is that she is a child. Sally simply does not know any better. Her eagerness to please Jefferson can almost be compared to that of a young child or a puppy. She will sing and dance enthusiastically just to make Jefferson happy. Her innocence and youth are what seduce Jefferson.

[4] The second inference this scene makes is that Sally is simply a “rebound” for Jefferson following his break up with Maria Cosway. The scene opens with Jefferson, on the brink of tears, reading Maria’s farewell letter. This scene appears implausible because Jefferson’s sudden mood shift seems highly unconvincing. There is no way that in the course of five minutes, Jefferson could have forgotten all feelings for Maria and decided that he is now in love with Sally Hemings. If this is the case, then according to this movie, the first sexual encounter between Thomas Jefferson and Sally Hemings is not a product of a strong relationship built on mutual respect and love; it is based purely on lust! That is the only explanation for Jefferson’s hasty change in feelings. He has just been dumped, then Sally appears, and whether she realizes it or not, she begins to seduce him. Jefferson then makes the first move by pulling Sally onto the bed while she is still dancing around. Though it is not revealed until later, the two have sex that night for the first time.

[5] Though there are many problems with the portrayal of this scene, it clearly demonstrates the director’s opinions on the kind of relationship Jefferson and Sally shared prior to the first time they sleep together. Sally is still a child. She flirts clumsily and appears unaware that she is seducing her master. Jefferson sees Sally as a way to get his mind off of Maria. As demonstrated in other parts of the movie, Jefferson does have feelings for her, but whether he loves her or not is unclear. He has just had his heart broken, so he acts on an impulse and “takes” Sally.