by Sam
The short film Life Lessons, directed by Martin Scorsese, is a brilliant character study that, in Scorsese’s own words, “examines a painter’s Obsession with his mistress. We examine something that’s either dead or dying.” Throughout the film, Scorsese utilizes a diverse soundtrack to put us in the mindset of the main character, New York painter Lionel Dobie. Dobie listens to music as a way to shape his painting, a device used by the filmmakers to highlight his differing states of artistic ability. Although several songs are used, none convey an emotional message more important to the plot than that of A Whiter Shade of Pale by Procol Harum. This track is used all through the fim to underscore the codependence of Lionel Dobie’s artistic muse and his obsession with Paulette while keeping the main character relatable.
The short film Life Lessons, directed by Martin Scorsese, is a brilliant character study that, in Scorsese’s own words, “examines a painter’s Obsession with his mistress. We examine something that’s either dead or dying.” Throughout the film, Scorsese utilizes a diverse soundtrack to put us in the mindset of the main character, New York painter Lionel Dobie. Dobie listens to music as a way to shape his painting, a device used by the filmmakers to highlight his differing states of artistic ability. Although several songs are used, none convey an emotional message more important to the plot than that of A Whiter Shade of Pale by Procol Harum. This track is used all through the fim to underscore the codependence of Lionel Dobie’s artistic muse and his obsession with Paulette while keeping the main character relatable.
The first instance we hear the song used is in the beginning scene. We see that Dobie hasn’t been motivated to paint. He meets with his agent having not created an acceptable amount of art for an impending art show. A Whiter Shade of Pale is blaring from his boombox. The use of that track in this scene helps to humanize the main character’s lack of progress as well as highlight his lack of muse with the track’s bitter-sweet melody and vocals. The audience knows there’s something troubling Dobie. He’s been drinking, and his face bears the same sad expression throughout the scene. Something is out of place in his world. The song’s lyrical makeup and melody help to make that more understandable to the audience.
The second usage of the track helps to explain Lionel’s lack of muse to the audience. As Paulette, his assistant, walks off a plane, the song is once again played, although this time non-diegetically, reminding the viewer of the previous scene and it’s presentation of Dobie’s lack of muse. It is the only song played both diegetically and non-diegetically throughout the entire film. It’s usage helps to connect the lack of muse with the idea of Paulette in the current scene. This is the first demonstration of these two ideas in tandem, both utilizing the same track.
The next time the song is played, Dobie is able to paint. Through a heavy amount of coaxing, Paulette agrees to return to Dobie’s loft. They do so, but on Paulette’s condition that Dobie must not make any sexual advances. We see a montage of him painting, playing basketball, and being a nuisance to Paulette. It is at this point that the audience no longer has to rely on bridging the ideas of Paulette being in Dobie’s life and Dobie’s creative muse from two different scenes. This scene has both ideas presented together, all while the same track plays in the background. It is also important to note that without this track, Dobie’s actions might be misunderstood by the audience. Barging into Paulette’s room would be seen as weird, but with the use of A Whiter Shade of Pale, Dobie’s actions seem somewhat understandable. The bitter-sweet feel of the song helps to connect the audience with Dobie’s bizarre actions, making his obsessive emotional state more understandable.
Throughout the second act, Dobie regains the ability to paint and different tracks are used to underscore his artistic journey. The audience is then reunited with A Whiter Shade of Pale at the end of the film, subconsciously returning them to the themes outlined by the song in the beginning. Dobie strikes up a conversation with one of the servers at his own gallery. He offers her Paulette’s old job. The song begins and the sounds of the room fade. The other patrons of the gallery seem to drift out of reality until the only two people left in the room are Dobie and the server. The song once again helps to tie the idea of Dobie’s muse, a room full of his artwork, with his romantic interest, the only other person in the room.
The film starts and ends with the song. When asked about his usage of the track, Scorsese was quoted as saying “I liked the movement, the excitement of the scene with the music.” The song helps to paint an emotional picture for the audience, and a physical picture for Dobie. It allows the audience to subconsciously recognized the theme of the film. It helps the audience to connect scenes, ideas and context. Without it, the codependence of Dobie’s muse and his romantic interest wouldn’t be nearly as clear. If the track wasn’t used the way it was, one might not even classify it as the same movie.
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