Below is my contribution to Epinions member Ifif1938's French W/O, in honor of her 400th review.

The Production team of Ismail Merchant (Producer) and James Ivory (Director) is best known for a series of stylish, elegantly filmed, British romantic period dramas, (Howard's End/Room With A View) that explore social issues within British society. Their 1995 historical costume drama Jefferson In Paris, marks a slight departure from their usual fare, but they approached it with same type of reserved austerity as their previous works.

The film begins promisingly with a scene from a farmhouse in rural Ohio in 1873. A Journalist is sent to interview a black family, allegedly descendants of former American President and Statesman, Thomas Jefferson. The Journalist is told by Madison Hemings, (James Earl Jones) that he is the son of Jefferson and former slave Sally Hemings, and that the President promised their mother that upon their 21st birthday, he and his siblings would be declared free, thus gaining freedom years in advance of the Emancipation Proclamation.

This sequence is followed by a lengthy flashback to Jefferson's (Nick Nolte) five year ambassadorship to Paris from 1784-1789, in the years leading up to the French Revolution, after the untimely death of his wife, Martha. It rather superficially explores his flirtation with a member of the French ruling class, Maria Cosway, (Greta Scacchi) his ambivalent relationship with his daughter, Patsy, (Gwyneth Paltrow) whom he places in a convent against her wishes, and his affair with Sally Hemings, (Thandie Newton) the black Nurse maid of his younger daughter. The story also touches on the conflict between Jefferson's ideals as stated in the Declaration of Independence that "all men are created equal" and his ownership of slaves, which he rather lamely attempts to justify to the French aristocracy. The story makes liberal use of the device of narrative commentary, as Jefferson writes lengthy letters describing his insights into the divisions within French society, particularly the monarchy's extravagant excesses under King Louis XVI and Marie Antoinette, at the expense of the commoners, that leads to the French Revolution.

Ultimately, this film suffers from a little too much narrative and too little action, and an interesting combination of historical facts versus speculation, as Screenwriter Ruth Prawer Jhabvala's (Remains of The Day/The Golden Bowl) obviously well researched and extremely literate screenplay, falls flat. The most appealing feature of the film is the lush cinematography, with sweeping views of the French countryside, the Palace at Versailles, and the Parisian architecture. Yet, the excellent production values including the elegant costumes, ornately decorated parlors of the upper class, the lush and lively Baroque style musical score, and meticulous make-up and hair styles are not quite enough to sustain this overly lengthy, (139 minute) dispassionate, costume drama.

Nick Nolte's stiff, rigid, portrayal of Jefferson, coupled with the stilted screenplay, fails to adequately capture the essence of one of the most dynamic, multi-faceted, personalities in American history. In this film, Jefferson is portrayed as a stoic man, so out of touch with his emotions, that he is unable to sustain a mature relationship with any of the characters in the film. Greta Scacchi fairs a little better, as the coquettish, Maria Cosway. However, there is so little passion in their relationship, that it seems to evaporate, like a cheap French perfume. Even Jefferson's relationship with Sally Hemings, is so badly downplayed, that Thandie Newton's spirited performance seems wasted. Only Jefferson's tempestuous relationship with his daughter, Pasty, expertly played by Gwyneth Paltrow, has a ring of truth.

Far and away, the most interesting features of this film are Jefferson's observations on the the class struggles and the burgeoning French Revolution, and it's somewhat vague similarity to the struggle of the American slaves to achieve a legacy of freedom, along with it's speculation on Jefferson's racially mixed descendants. This coupled with the trademark elegant Merchant-Ivory production, makes this film a marginally worthwhile viewing experience, particularly for those who can appreciate sumptuously filmed costume dramas, or the film's historical perspectives on Thomas Jefferson, and his observations on the French Revolution.



Recommended:
Yes

Viewing Format: VHS
Video Occasion: Good for a Rainy Day
Suitability For Children: Suitable for Children Age 13 and Older