Plot
Set in the period between 1784 and 1789, the film portrays Jefferson as an ambassador at Versailles prior to the French Revolution. French liberals and intellectuals hope he will lead them away from the corruption of the court of King Louis XVI and Marie-Antoinette and toward a more democratic form of government. Although deploring the poverty of the common people, he embraces the riches of French culture and civilization. It is his first time abroad, and he takes advantage of the opportunity to extend his knowledge of liberal arts and science while absorbing the refinements France has to offer.
A lonely widower, Jefferson develops a close friendship with beautiful Anglo-Italian painter and musician Maria Cosway. Although she becomes increasingly devoted to him, his attachments to the memory of his wife, to whom he promised never to marry again, and to his two daughters, especially the elder, possessive Patsy, prevent him from fully committing to the relationship. At the same time, he succumbs to his attraction to his younger daughter Polly's nurse Sally Hemings, his wife's half-sister sired by her father with one of his mulatto slaves. Sally's brother James is in Paris as well, learning to prepare French cuisine for Monticello. When George Washington offers Jefferson the post of Secretary of State, he accepts and prepares to sail home with his family. But James, having enjoyed his freedom in Paris, is not willing to return to the United States and urges Sally to remain with him. It is only when Jefferson promises he will give James and Sally - who is pregnant with Jefferson's child - their freedom that they consent to leave with him.
Read more about this topic: Jefferson In Paris
Famous quotes containing the word plot:
“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)
““The plot thickens,” he said, as I entered.”
—Sir Arthur Conan Doyle (1859–1930)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)