
Eisler’s music doesn’t illustrate, doesn’t just accompany or go for the manipulative, superficial and overwhelming effect of evoking emotions. Eisler aims at adding to the intentionally unsentimental, unromantic and laconic quality of the film an independent, autonomous musical commentary.
Be it a baroque prelude, hectic mechanical rondos that remain unresolved, agit-prop songs, a parody of nursery rhymes, poor people’s street music with a singing saw or ironic march quotations: Eisler’s music is moving without being sentimental. It takes a stand, gets involved, shakes things up - and it requests of its viewers/listeners to be equally alert.
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