In Composing for the Films (1947), Theodor Adorno and Hanns Eisler write that “leitmotif has been reduced to the level of a musical lackey, who announces his master with an important air,” and that accordingly, film music “interprets the meaning of the action for the less intelligent members of the audience.” Do you agree with Adorno and Eisler’s critique of leitmotif in film music? Respond using at least one film score as a text for analysis.No More Worries!
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