Throughout his already considerable career in the cinematographic music, and thanks to some superb scores (and to other not so attractive), Christopher Young has demonstrated his versatility and ability at the hour of producing appropriate music for different genders and in different tones. Investigating and experimenting, Young has been capable of offering so classic scores as Murder in the First (1995), so advanced as The Vagrant (1992) or so spectacular as Species (1995); his new turn of the screw carries him directly to the secret agents comedy, with a title so inevitably hitchcockian as The Man Who Knew Too Little, for which offers a different and appropriate sound very unlike of that we has customarily accustomed. It is not considered to seek comparisons or similarities, but it is evident that Young parts of a base material very seated in the decade of the sixties, when the subgenre of spies and secret agents delivered a whole slew of movies, some of they serious but other of an evident jocular tone. The new Jon Amiel film is close to this last, and Young recall us to Henry Mancini in the general tone of the work, though in no moment disappear his personal touches so liked from the multitude of fans that we followed with attention his career. A.L.

/ VARESE SARABANDE VSD-5886 / 41'