Music plays an essential part in this film. Not only as a base for a creating a strong atmosphere and emphasizing emotions, but also as an important story-telling element, defining the characters and moving the story forward.
We place two musical themes in antithesis. A bitter-sweet motif of the sea, conveying nostalgia, sadness and a bizarre dark flavor through its deep and exhilarating beauty, linking the present with the past – the times when the kingdom of the Sea King hadn’t been yet touched by the hand of man. It’s a sound of the grand fish orchestra that plays this music.
The other prominent music theme, which will greatly affect Little’s fate, is the one representing J.J./Baron, the night club owner. Annoyingly persistent, cheap and tacky music of a simple melody and bold rhythm. That is why Little likes it, discovering love and the world of humans through it.
The struggle between these two musical themes represents the true struggle in the story itself – the spirit and life of Little and her great dilemma – is being expressed here both symbolically and factually.
There is yet another – a third stand-alone music element, the tool for conjuring up different kinds of atmosphere within the film’s many settings, e.g. the creepy underground of the Witch’s domain or the omnipresent beat of the harbor city streets, reflecting the spirit of this multicultural and vibrant milieu – a medley of ethnic and world music styles mingling a blues saxophone, tambourines, drums, rattles and small fractions of other tunes resonating from bars and pubs.