Jefferson in Paris

...and the old one collapsing.How tempting!Jefferson,who epitomizes democracy and freedom visiting the old wreck,France on the eve of revolution.

Ivory's precedent works were masterpieces (Howards end and remnants of the day)but they took place in England and they were not really historical,even if "remnants" made a fine blend of the historical background with the storybook elements.When it comes to history,and mainly French history,all we get here is a full load of clichés:Marie-Antoinette, playing with her flock of sheep,Doctor Guillotin,showing his new machine (he used to say that the condemned person could feel a nice fresh sensation before dying!),La Fayette and his wife Adrienne,and of course,the de rigueur lines (c'est une révolte?Non sire,c'est une révolution").The only daring gesture,so to speak,is the puppet theater,but even that was already in Ettore Scola's "la nuit de Varennes",(1982)with much more finesse,at that.A lot of French actors appear,which is the least Ivory could do but they are not always well cast:Michel Lonsdale is a very competent one,but he's too old to be a credible king (64 when Louis XVI was about 30!)Charlotte de Turckheim is an ugly Marie-Antoinette and some scenes in which she appears ,probably influenced by "Fellini-Casanova" (1977),do not help. This is Jean-Pierre Aumont's farewell to the screen (he was in Carné's "hotel du nord" in 1938!)in a very small part:I thought he was playing Mirabeau,but actually it's an obscure D'Hancarville.Lambert Wilson ,on the other hand,is a good choice for La Fayette,but h,most of the time,he's reduced to a walk-on.

As for the American side of the story,of course,Ivory focuses on slavery,and deservedly so.The French cannot understand that a country so in love with freedom could approve of such a thing.But it finally boils down to Nolte-and-black babe affair and it's overlong and tedious.The first scene between Jefferson and the abbess promised great things.But it's a disappointment when they meet again towards the end.

All in all,this is a lavish production,which is sometimes entertaining,but which lacks epic strength and has missed its date with

destiny.

Although I have been interested in Jefferson for many years, I put off seeing this film for some reason, and only caught it recently on cable.

I give it mixed reviews, generally favorable. Ivory/Merchant have again fashioned a lavish tableau, and the sets, costumes, props, etc. are first rate.

The cast is solid. I was afraid Nolte would be a little too rough for my image of Jefferson, but that played out all right.

What made this film interesting to me was certainly not whether it was accurate in a historical sense. How could it be--not nearly enough is known of that situation. The question is whether or not the film is plausible and "honest within itself," i.e., whether we can accept the story as having something to tell us, if what is depicted is historically true or not.

To me, the movie is about freedom, and the contradictions of freedom. Jefferson, freedom's advocate, is ensnared within the institution of slavery, and that ends up torpedoing any mature romance with Maria Cosway. Jefferson is also in his own life quite rigid, pulling his own daughter back from possible conversion to Roman Catholicism. His granting of freedom to James and Sally Hemmings has limitations.

What bothered me some about the movie was its use of the backdrop of the coming French Revolution--by itself a commentary on the limitations of freedom. To the filmmakers it seems "the Terror," two or three years in the future, is the definitive statement and stage of the revolution. The movie even seems soft on the ancienne regime, which over time killed a lot more people than the Terror.

These muted investigations of freedom in the film move very slowly, but still hold interest--they are thoughtful, probing, and, to a degree, don't pass simplistic judgements on people.

Cerebral film, but then Jefferson was a cerebral guy!

It is documented that John Adams, second President to the United States, loathed Parisian excess and found the endless gossip, parading, and parties to be a bore. Thomas Jefferson, on the other hand, it is reported, liked Paris much better, and had a reputation of being more of a dandy than is portrayed in this film. Not only is 35% or more of the movie's dialogue in untranslated French, that is, without subtitle either, but the endless tedium of the suffocating excesses of 17th century France are too accutely conveyed. I found Nick Nolte uncompelling and Gwynneth Paltrow's performance doesn't seem like it was fully captured, somehow. The costuming is beautiful and particular attention seems to have been invested in hair and wig styling history. As far as the story goes, though, I kept wondering what Jefferson saw in either his European love interest, or in Sally Hemmings that drove him into the arms of either of them. The accents of all the actors just don't work for me. I didn't buy it that Sally Hemmings would have such a pronounced country accent after living exclusively with Jefferson and his immediate family for such a time, if anything, she would have picked up a French lilt to her speech.

I wouldn't have been too surprised if Merchant and Ivory had attempted to suit up Anthony Hopkins as Thomas Jefferson or perhaps even fitted Hugh Grant with shoe lifts and an ersatz Viriginia accent for the role. Instead they went with Nick Nolte - who at first glance seems an almost equally unlikely choice. However the casting proved to be inspired for Nolte does a remarkable job of capturing Jefferson during his stint as U.S. ambassador to France on the the eve of the French Revolution. Nolte effectively projects Jefferson's pride, intelligence and intellectual curiosity............ and human frailties.

Most of what I read and heard about this movie led me to believe that it was chiefly concerned with Jefferson's relationship with Sally Hemmings (Thandie Newton) - However, there are other threads running through that take up as much time and attention in this film. If there is a central theme here it seems to be an examination of some of the failures of Jefferson as a man of principle. Both Jefferson's public and private ideals are put to the test during his stay in Paris. And he, arguably fails on every count. However, somehow (at least for me) he remains a sympathetic character-even with his many faults.

Early on in the film Jefferson is called to account by the liberal French aristocrats that he associates with regarding the failure of the American Revolution to address the issue of slavery. Jefferson admits that slavery is evil (he even tried to have an anti-slavery clause inserted in the Declaration of Independence) -but he has no answer when the Frenchmen assert that the American Revolution was "incomplete".

The question of slavery also figures into Jefferson's rather ethereal romance with the wife of an English painter (Mrs Cosway played by Greta Scacci). When questioned about the matter he is only able to put her off by simply saying that it would be impossible for a foreigner to understand slavery as practiced in the American south.

Gwyenth Paltrow gives perhaps the best performance in the film as Jefferson's troubled oldest daughter (Patsy). She sees her close relationship with her father threatened by both Mrs Cosway and then later by Sally Hemmings' appearance on the scene as the nursemaid to Jefferson's younger daughter. Jefferson puts Patsy into a convent but is later taken aback when she evidences an interest in converting to Catholcism. The Mother Superior (Nancy Marchand) of the convent taunts Jefferson, when he comes to retrieve his daughter. by pointing out that freedom of religion is an idea (after all) championed in the U.S. Constituion. The idea here, of course, is that Jefferson is being a hypocrite once again by denying his daughter her own choice in the matter. I must say though that the Mother Superior's jibes ring rather hollow to me in as much as an 18th century Catholic nun would not be my first choice to represent the voice of conscience regarding the promotion of human liberty.

Thandie Newton may have the most difficult job here in so much as so little is known about Sally Hemmings (We do get a couple scenes of ineffective exposition in the guise of Sally's son (James Earl Jones) being interviewed seventy years later). Newton chooses to play the character very broadly and she comes across as quite believable in both reflecting the speech and manners of a 15 year old slave girl fresh off a Virginia Plantation (all the more remarkable since she is a 22 year old Englishwoman---her accent only fails her in one scene I think). The character of Sally Hemmings stands in sharp contrast to the almost painful sophistication exhibited by the French nobility that Jefferson associates with. I note that some posters on IMDb criticize Newton's portrayal as lacking depth and even sinking at points to the "stepanfetchit" level. I disagree. Newton- is showing us a confused girl-far from home--and certainly a girl at times who has her own agenda--however naive.

It is obvious here that Merchant and Ivory are attempting to get us, at every point in the picture, to question the character of Jefferson--However,- the way the affair between he and Hemmings is handled speaks much to the limit of how far the film-makers were willing to go. The affair itself is still clouded by controversy but in almost all circumstances, a 50 year old man having an affair with a 15 year old girl must be considered, at least, culpable if not criminal. There really is no such thing as consensual sex between a slave and a master. Since nobody really knows the hows and whys of the affair, Merchant and Ivory had free license to present it in any light that they wanted---and they chose to make (unrealistically in my view) Sally Hemmings the sole initiator of the affair -- In fact, it's difficult to picture Nolte's Jefferson as initiating the affair--much less forcing it. I think that this version of events rather begs credulity.

As usual, Merchant and Ivory, have produced a movie that has wonderful period details - the costumes and sets are at the very top of the line in every way. The building storm of the revolution is set as the backdrop to all that happens in the film. Mob scenes are inserted between views into the luxury and leisure of the French nobility in an effort to remind us that many of these extremely glib and well dressed people will be without heads in the near future.

"Jefferson in Paris" offers a little something for everyone---History -Romance----class and race conflict----take your pick....It's a movie well worth watching.

I love this movie, because I am a complete sucker for movies set in the 18th century, and this is exceptionally well done. Nick Nolte is the most extremely unlikely choice to play Jefferson, but somehow he and the director make it work. The extensive selections from Jefferson's letters as he watches things unravel in France add a great deal to the entertainmnet value.

Most people think that TJ signed the Constitution, when in fact he was US ambassador to France. From a costume point of view and in terms of certain vignettes, this movie does a marvelous job of debunking that notion.

Now to the Sally Hemmings thing. DNA evidence does not lie, and it is now clear that he did indeed father her children. But I have a problem, and I'm not sure if there is any historical resolution to it. In the movie, she is a "massah, how's you feelin' today" type slave. I'm willing to accept that they fell mutually in love, but I'm still having a hard time dealing with her not having more class. It is a mistake to believe that slaves of relatively enlightened owners (yes, folks, I know what I'm saying) had no sophistication.

Dumas Malone, the great biographer of Jefferson, would go into an apoplexy if you raised the possibility of this affair being real. Now that we know that it was, I might be his unworthy successor in suggesting that a man like Jefferson would not simply take a steppinfetchit slave girl to his bed, but would rather seek comfort in the arms of someone whom he could respect, however questionable the situation looks in a modern light.