When music first appeared as an accompaniment to the movie, it was aimed to serve mainly practical purposes: first, there was so much noise from the projectors (not yet isolated in special booths) and the people’s voices that it was rather a challenging task to concentrate on the picture; second, the art of cinematography was still obscure to people and therefore, was treated with caution – that explains why they needed a melody to relax in a hostile silent darkness of the movie hall 1 . However, it was not long until film music acquired a new status of a meaningful, dramatically and psychologically motivated medium deeply ingrained in the film narrative 2 . The research attempted in this paper goes a little further than just analyzing the way picture and music coordinate in a movie – it will also touch upon the connection between songs mentioned in the book and their interpretation in the screen adaptation. The object of study would be Vladimir Nabokov’s Lolita and Stanley Kubrick’s version of the novel. It is not by chance that Lolita has been chosen for a case study because the role of music both in the book and in the movie could hardly be overestimated. Besides, Kubrick performed a great task of deciphering the polysemantic code of writing and then, encoding the same message using the means that the movie disposes of – the picture, the speech, and the music. Thus, the primary objective of this work would be to discern the three-fold connection of the text, the music, and the image in Lolita. It is worth noticing that music affects not only our attitude to the content of the movie but also our estimation of the characters, preconditioning on the subconscious level either attraction or repulsion that the audience feels 3 . In case of Lolita , it was both the author and the director’s task to provoke simultaneous contradicting reactions to Humbert Humbert, whom we are supposed to pity for his miserable love, detest for his carnal lust, and admire for the brilliant intellect. The current analysis is based on the juxtaposition of the musical means used in the novel and their reflection in the movie. Both Nabokov and Kubrick attached a significant value to the choice of tunes, songs, and scenes that they accompany. The latter first showed his famous musical style in Lolita, which he considered to be a non-verbal, music-oriented picture 4 . Therefore, Kubrick resorts to many kinds of diegetic (preceding or following the appearance of the source) and non-diegetic music whose aim is to show the characters’ attitudes towards each other. Lolita has her own tune in the movie. We hear it before meeting her for the first time: the diegetic melody comes through the French window opening to the garden. The music symbolically unites Lolita’s space with Humbert’s at the moment he steps inside. The story begins here. The recurrent motif enchants Humbert so much that Charlotte’s personal music ( cha-cha-cha) fails to seduce him and is heard only once. The first song – O my Carmen, my little Carmen – appears in the scene where Humbert sings to account for his strange rhythmic movements when he secretly caresses the girl. Lolita did not go to church, so the scene happens during the service time, which means that the song was me