In the beginning of The Man Without a Past (Kaurismaki 2002), a “musicalized” shot may entail a strange effect of monumentalization. In order to precisely describe the effect, I will first systematically delineate different functions the music consistently assumes in this “musical” movie – such as epic (in the meaning of Brecht), pathetic and ethic (in the meaning of Aristotle). I will then turn to a description of this unique “moult” in my listening, caused by this shot edited at the tail end of a scene of assault in which a man, a welder, is left for dead. A symphonic music which until now originated from a little mobile radio station gets suddenly the magnitude of an orchestra pit music while the image shows a pitiful corpse negligently covered by his suitcase and his mask. Heard at full power, the symphony, then, interferes with the image and compose its equivocal depiction.