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There are two types of the music in the film Pustolov pred vratima (The Adventurer in Front of the Door, directed by Šime Šimatovi&#x0107, 1961). The »classical« music was composed by the famous Croatian composer Boris Papandopulo and the »popular« music was composed by Vili Čaklec and Stjepan Mihaljinec. The use and the function of the two musical genres is unusual: Papandopulo uses his »contemporary« music composed mostly in expanded tonality (the only exception is one theme that additionally makes more complex the relationship between the music and the content) to mark the »normal«, »everyday« scenes (although these scenes are already a part of fantasy or realized wishes, so that the question is whether they are really »normal«). On the other hand, a foxtrot, composed by Vili Čaklec, is often used as diegetic music denoting »the door«, that is, »the passage« from the real world (the woman is dying in a sanatorium at the beginning of the film) to the unreal (her wish to live her life again, but with the husband and lover, that is granted by Death). This is completely different from the usual usage of diegetic music as synonymous for film reality, and the nondiegetic music as synonymous for the film non-reality. The »change« of the functions of the musical genres came directly from the story (the screenplay was inspired by a drama written by Milan Begović) where the notions of »real« and »unreal« also changed places. [ABSTRACT FROM AUTHOR]