At least, its funny that to compose the music for this unnecessary new version of the excelent novel of Boileau and Narcejac, it has turn to a composer which movie career were basically on comedy, like in the recent While You Were Sleeping. The result is clear from the main title where the score becomes more than correct, in part thanks to the very low quality of the film, which tries to hide its simpleness entangle the story, with a filthy and ridicule style, leaning fundamentally on the obvious photogenic look of their two female main characters. In view such scene is not odd that Edelman successfully laud for a uniform, severe score, with certain concessions to classic thriller soundtracks, like (keeping the distance) Presumed Innocent, of maestro John Williams. The use of the piano as the only instrument on themes like Mia's, or the addition of violins, specially on the main theme, prove it; the necessary use of strings as support to the very successful and brillantly orchestrated piano solos, achieve that we may take pleasure particularly with the Finale, where Edelman creates an armonious piece thinking-out as a epilogue or conclusion. R.M.

/ EDEL 0022582CIN / 49'