MISSION: IMPOSSIBLE (1988-2011): Full series overview, Part 2
I debated with myself whether to edit my original “Full series overview” post to add the revival, but I think it would be easier just to link to it and add a second post, mainly covering the 1988-90 revival series and the feature film series, but also updating some of the bits from the first post. So here’s the link:
The revival TV series added 35 episodes to the tally from the original, for a total of 206 episodes and 197 distinct adventures — or maybe 193, since four of the revival episodes were fairly close remakes. Highlights:
Regulars: Reactivated government agent Jim Phelps (Peter Graves), electronics engineer Grant Collier (Phil Morris), theater professor Nicholas Black (Thaao Penghlis), all-around tough guy Max Harte (Tony Hamilton), fashion designer Casey Randall (Terry Markwell). Randall dies midseason, replaced with journalist/singer/Secret Service agent Shannon Reed (Jane Badler).
Initially remakes of original-series episodes, soon giving way to new episodes and loose reuses of original premises in different ways. A surprisingly direct continuation from what had come before, with a mix of international intrigue and crime-busting cases; after an initial emphasis on capers that go off-plan and create jeopardy for the team, the season settled into routine, clockwork capers with very little character exploration, much like the original. A high percentage of episodes featured supernatural-themed capers exploiting villains’ superstitions, usually through holography.
Production in Australia allowed more striking and exotic location work and more international flavor, unfortunately leading to worse ethnic stereotyping than the original generally had. In departure from original, most episodes were set in real countries.
Beginning of the fleshing out of the IMF as an organization, establishing other agents, a research lab, and the like. First steps toward a more action-oriented focus.
Cold opens used in every episode. Tape-scene briefings replaced with video minidiscs in special players, and ending in freeze-frame title card/music sting like that in the original’s dossier sequences. No off-book missions, so disc scenes used in every episode. Video dossier scene used only in pilot. Team briefings occasionally took place on site rather than in Jim’s apartment, and were often more preliminary and straightforwardly expository than in the original, with little of the gadget/trick demonstration common in the original.
Main title theme modernized, electronic/guitar arrangement. Preview clips in titles replaced with generic title sequence. End titles initially over “IMF” logo, later over stills from episode.
- Best episodes: “The Pawn” and “The Fortune,” followed by “The Legacy.” Best remake: “The Legacy,” whose final act improved upon the original’s weak ending.
- Worst episodes: “The Devils” is worse than anything from the original series. “The Haunting” is also quite bad, and “Submarine” isn’t much better. Worst remake: “Submarine,” a hugely inferior reworking of the original’s finest episode, though it’s only a loose remake.
Regulars: Jim Phelps, Grant Collier, Nicholas Black, Max Harte, Shannon Reed. Only season besides S6 where the same regular cast appears in every episode. Only season in franchise where the team has no supplemental members.
Entirely new episodes, though a couple were loosely inspired by original-series premises. First season since S4 to include a 2-parter. The first half-season broke formula much as S5 did, having more capers go wrong and delving more into the characters. The characters spent more time as themselves (rather than playing assumed roles) than in any previous season. The second half largely dropped the caper formula in favor of more conventional action storytelling where the characters were searching and improvising more often than enacting preplanned strategies.
Unique in having no purely crime-focused episodes; every criminal case had an international/geopolitical aspect. Resumes original series’ practice of using largely fictitious countries, though with several real locations (or caricatures thereof) used. Increased emphasis on action, solving problems with force or gunplay rather than deception and stratagems. The opening 2-parter was essentially an over-the-top action movie, almost a trial run for the feature films. Increasing shift toward fanciful or exaggerated scenarios, and continued emphasis on supernatural cons.
No change in initial formula: Cold open, disc briefing, team briefing usually in Jim’s apartment but occasionally at on-site command post.
- Best episodes: “Countdown,” “The Fuehrer’s Children,” “For Art’s Sake,” and “The Princess.”
- Worst episodes: “Cargo Cult” is the worst episode in the entire franchise. “Banshee” and “The Assassin” are both dreadful.
So how would I rank these seasons relative to the whole? Remember, my rankings for the original series were:
- Season 5
- Season 1
- Season 3
- Season 4
- Season 7
- Season 6
- Season 2
The 1988 season — call it season 8 — was generally routine and mediocre in storytelling, about on the same level as S2, but weakened by less interesting music and by the disappointing presence of Terry Markwell in the first 2/3 of the season. I’d pretty much have to rate it below S2, then. The ’89 season — call it season 9 — is trickier to rate, since it started out so strong but sank so low. In that respect, it’s close to season 6, which had a number of strong episodes offset by a number of poor ones. But the worst episodes of S9 are below the quality of anything in the original series, so I’d have to put it below S6, though it has enough interesting ones to put it above the generally bland S2. So the new ranking would be:
- Season 5
- Season 1
- Season 3
- Season 4
- Season 7
- Season 6
- Season 9
- Season 2
- Season 8
Regulars: Ethan Hunt (Tom Cruise) is the only true regular. Luther Stickell (Ving Rhames) appears in all four films but is only a team member in three. Benji Dunn (Simon Pegg) is effectively a regular starting with the third film. No one else appears in more than one film.
A remarkably inconsistent film series, with each film reflecting its own director’s style and sensibilities. The first two films and the subsquent J.J. Abrams-produced series can be seen as three separate, highly distinct attempts to adapt M:I to film, sharing only a leadactor and a few recurring tropes. Unlike the TV franchise’s team focus, the films are focused on Ethan Hunt as a lone hero and romantic lead, with only Ghost Protocol having an ensemble approach (and eschewing a romantic subplot, for the most part); but Hunt does not emerge as a well-drawn character until the third film. Only the third and fourth films have any shared continuity besides the return of Hunt and Stickell. What the films have in common is a shift toward a greater emphasis on action and on tales of intrigue and treachery. All of the first three films involve traitors in the IMF, and all but the second involve Ethan Hunt being accused of treason and going on the run. The intricate capers that characterized the original series are generally reduced to set pieces within the films’ plots.
The IMF is fleshed out into a division of the CIA, based in Langley, VA. Every film features either senior IMF officials or “the Secretary” himself, though with different officials in each film. The first three films have the briefing videos narrated by the agent’s superior in the IMF, and the fourth has the Secretary deliver “your mission, should you choose to accept it” in person (along with other mission briefings by an anonymous, possibly computerized voice). The method of the briefing delivery is different in every movie. Dossier videos are incorporated into the briefings in films 1, 3, and 4, and as part of a visual montage in film 2. Teams are usually selected by the superior rather than the team leader. Team members are now career IMF agents rather than civilians, although the premise that they are deniable, non-official agents without the protection of their government in the event of discovery is retained — and utilized far more heavily than in the series.
All films take place in real locations and are generally filmed in them. All plots focus on large-scale espionage or on the terrorist acquisition of WMDs.
Every film has a cold open, though the subject matter varies. Every film uses the Schifrin main title theme, but only the first and fourth have full-length title sequences based on the format of the original series. Only the third and fourth films use “The Plot” in full, though the first uses snippets; the second film is unique in the franchise in eschewing the melody altogether.
- Best films: M:i:III, M:I — Ghost Protocol.
- Worst films: M:I-2 is clearly the worst, but the first M:I isn’t much better.
Ranking the movies is pretty easy:
1) Ghost Protocol: Very well-directed and fun, with the greatest focus on classic M:I-style capers and schemes and the only really ensemble-driven story in the film franchise. Very close in quality to its predecessor, but the greater fidelity to M:I and the superior music put it over the top.
2) M:i:III: Just as well-done in its own way, but more serious. Terrific, rich character work and effective action, and by far the best use of a female lead in the franchise. The first film to give Ethan Hunt an actual personality. The only drawbacks are an insufficient focus on the ensemble (though they do get a few nice moments here and there) and relatively little use of classic capers, with the Vatican sequence being essentially the only one.
3) M:I: A fairly tepid conspiracy thriller with mediocre acting and a key plot point that makes no sense whatsoever (the Bible “clue” that proves nothing at all), not to mention a climax that defies physics more ridiculously than most action movies do. Further marred by the character assassination of “Jim Phelps.” Still, it’s redeemed somewhat by the effective and iconic set piece of the Langley heist, and by making more use of series-style capers and tropes than any other film in the series save GP.
4) M:I-2: A cartoony, over-the-top, Hong Kong-style action movie, which is something that might be fun as a separate entity, but that doesn’t work as something calling itself Mission: Impossible. An aggressively mindless exercise in style over substance, dominated by insanely overdone action and a deeply superficial excuse for a romance between Hunt and the film’s one and only female character, a travesty next to the moving relationship he has with Julia in the subsequent films. Barely even feels like M:I, barely uses a team, and the villains use more IMF-style tactics than the heroes. The best that can be said about it is that it succeeds in its goal of being a dumb, shallow action cartoon, unlike its predecessor, which fails in its goal of being a smart conspiracy thriller.
Musically, the revival series was less interesting than its predecessor, featuring only three composers in the first dozen episodes and only one for the remainder of the series. The three scores each contributed by Lalo Schifrin and Ron Jones were of mixed quality, though each had one really interesting one, one reasonably good one, and one mediocre one. The remaining 23 scores by John E. Davis (assisted by Neil Argo in season 2?) were generally uninteresting. However, the changes in US union rules requiring new scores in every episode mean that Davis is second only to Schifrin in the total number of M:I episodes scored.
The films have used three different composers, Danny Elfman, Hans Zimmer, and Michael Giacchino, with only Giacchino being used twice. Elfman’s score was reasonably good and Giacchino’s were both excellent, with the Ghost Protocol score being particularly impressive. Zimmer’s score for the second film was mediocre, and the only one geared more toward rock sounds than orchestral scoring.
The updated list:
- Lalo Schifrin: 26 credited scores, seasons 1-8, plus themes used in 4 films
- John E. Davis: 23 credited scores, seasons 8-9
- Richard Markowitz: 9 scores, S3-4
- Robert Drasnin: c. 7 scores (8 credited), S2-3, 5-6
- Gerald Fried: 6 scores, S1-4
- Jerry Fielding: 6 scores, S2-4
- Ron Jones: 6 scores, S8
- Walter Scharf: 5 scores, S1-2
- Benny Golson: 4 scores, S5-6
- Richard Hazard: 3 scores, S4-5 (+1 credited, S6)
- Robert Prince: 2 scores, S5-6
- Michael Giacchino: 2 scores, films 3-4
- Jacques Urbont: 1 score, S1
- Don Ellis: 1 score, S1
- Harry Geller: 1 score, S5
- Hugo Montenegro: 1 score, S5
- George Romanis: 1 score, S6
- Duane Tatro: 1 score, S7
- Danny Elfman: 1 score, film 1
- Hans Zimmer: 1 score, film 2
The list of composers who have worked on M:I and Star Trek has grown, now including Fried, Fielding, Romanis, Jones, and Giacchino.
Here’s the updated list of regular and recurring IMF team members by number of appearances, incorporating the entire franchise. This includes everyone who was a team member more than once, so it leaves out most of the movie characters. This time I am incorporating Barney and Lisa Casey’s return appearances in the revival despite their not being formal team members, since they did actually participate in the teams’ endeavors, something I didn’t recall when I made the original list.
- Jim Phelps: 178 (not counting presumed impostor in first movie)
- Barney Collier: 169 (plus at least 1 offscreen assist)
- Willy Armitage: 147
- Rollin Hand: 76
- Cinnamon Carter: 71
- The Great Paris: 49
- (Lisa) Casey: 35 (plus 6 offscreen assists)
- Grant Collier: 35
- Nicholas Black: 35
- Max Harte: 35
- Dan Briggs: 27 (only on mission in 20)
- Shannon Reed: 24
- Dana Lambert: 23
- Doug Robert: 13
- Casey Randall: 12 (mostly minor contributions)
- Mimi Davis: 7
- Tracey: 6 (4 distinct missions)
- Ethan Hunt: 4
- Luther Stickell: 3
- Dr. Green (Allen Joseph): 2 (plus 1 offscreen assist)
- Dave (Walker Edmiston): 2
- Benji Dunn (Simon Pegg): 2 (only 1 as formal team member)
Note that Jim has now surpassed Barney as the most frequently appearing character in the franchise.
Bob Johnson (Voice on Tape/Disc) is heard in 192 episodes (all but 14), with 9 being recaps in multiparters, coming out to 183 distinct briefings. Johnson is in none of the movies, having died three years before the first film’s release.
Best Team Leader: Previous winner: Jim Phelps. New candidates: Evil Impostor Jim Phelps, Ethan Hunt.
Is there even a contest? Well, we can rule out Jon Voight’s Evil Jim right off the bat; assassinating your own team is kind of a disqualifier. And Ethan is too much of a lone wolf and grandstander, plus he has a hard time holding onto a team. No change here — the original Jim Phelps, accept no substitutes, still wins by a mile.
Best Second-in-Command: Previous winner: Barney Collier. New candidates: Grant Collier, Ethan Hunt.
I’m counting Ethan because he was Evil Jim’s second-in-command in the first film, and Grant because he generally seemed to be the first one Jim briefed before the others. Ethan didn’t give a very good showing in the role, allowing virtually his entire team to be killed by their team leader, so he’s out of the running (no pun intended) again. And Grant was never really given the chance to take the lead in Jim’s absence, so while I have the feeling he would’ve done a great job, he never got to prove it. No change here: Barney still wins.
Best Master of Disguise: Previous winner: Rollin Hand. New candidates: Nicholas Black, Ethan Hunt.
Man, that Hunt guy sure gets around. But his full-mask impersonations are too dependent on high technology, including synthetic voice chips, which seems like cheating. His less extreme makeup jobs using his own face and voice aren’t bad, but they don’t display as much range as Rollin’s did. And Nicholas had even less versatility; though theoretically he could do a perfect job mimicking anyone so long as the actor’s voice was dubbed over his, in practice the actor was unconvincing in the role. So again, no change: Rollin still wins.
Best Tech Guy: Previous winner: Barney Collier by default. New candidates: Grant Collier, Jack Harmon (Emilio Estevez), Luther Stickell, Benji Dunn.
Let’s start with the movie guys. Jack Harmon’s main accomplishments, as seen in the first film, are watching stuff on a monitor, being out-hacked by his own boss, and getting killed by a truly ridiculous deathtrap. Not impressive. Luther’s good with the hacking and with monitoring the team operations, but he’s not as hands-on as his predecessors. And Benji, while enthusiastic as anything, is a bit of a bumbler. The only real contender for Barney is his own son. And I’m tempted to give Grant the win. All things considered, he’s a more versatile IMF agent than his father, skilled not only in the tech stuff but in roleplay and physical combat as well. True, Barney expanded into those fields when necessary, particularly in seasons 6 & 7, but Grant did them better. However, this category is specifically for best tech guy, not best all-around agent. And tech-wise, while Grant had more advanced gadgets than his father, it seemed that his activities involved a higher ratio of typing on keyboards to doing hands-on gadget/mechanical stuff. That doesn’t necessarily mean that he accomplished less, but it does feel like his tech work was less versatile, more in the direction of Luther’s one-note hacking and monitoring. Still, he did a fair amount of field work and gadgeteering as well. It’s a very close contest, and I’m tempted to call it a tie. But here’s the thing: Grant owed his skills to what he learned or inherited from Barney. So if anything, Grant’s achievements only add to Barney’s legacy. So again, the original verdict stands.
Best Regular/Recurring Female Agent: Previous winner: Cinnamon Carter. New candidates: Casey Randall, Shannon Reed.
For once we have no candidates from the movies, since no female agents have made repeat appearances. That leaves the two women from the revival series. Casey Randall was by far the weakest regular agent of either sex, rarely given anything significant to do and limited in range when she was. She was certainly the weakest seductress of them all, despite being relatively beautiful. But Shannon Reed was very impressive — strong, smart, charming, sexy, reasonably versatile as a roleplayer, and a pretty good singer too. Her main drawback was a tendency to be made a damsel in distress, but despite this, she never felt weak or helpless, and indeed it sometimes gave her the chance to be even more heroic. It’s another close contest — indeed, the contest between the original series’ three main female leads was also quite close — but I think we have our first upset, with Shannon now getting my vote for the best female agent, by a narrow margin.
Best One-Shot Female Agent: Previous winner: Crystal Walker (Mary Ann Mobley) from “Odd Man Out.” New candidates: Every female agent in the movies.
Again, I won’t list all the candidates by name, but my favorite of the movies’ female agents was Zhen Lei (Maggie Q). Jane Carter (Paula Patton) got more to do, but she felt uncomfortable and out of place in the IMF’s roleplaying gambits, being more a blunt instrument who struggled to fulfill her responsibilities. Still, I don’t think Zhen quite upsets Crystal, although it’s very close.
Best Strongman: I’m changing this category from Best “Other Guy” because now we have more than one candidate in the strongman category. Previous winner: Willy Armitage. New candidate: Max Harte.
For once, we have a clear upset. Willy was pleasant enough and good with the physical stuff, but limited as a roleplayer. Max was less a strongman per se and more an all-around tough guy and fighter, but he was also a much more capable roleplayer, pilot, stunt rider, and the like. He was a great asset to the team and wins my vote easily.
Best One-Shot Male Agent: Previous winner: Joseph Baresh (Albert Paulsen) from “Memory.” New candidates: Jack Harmon, Franz Krieger, Billy Baird, Declan Gormey, William Brandt.
Okay, Brandt is the only one on the list who made much of an impression at all, aside from Krieger, who was a villain. But since he’s allegedly attached to the upcoming fifth movie, I’m not sure he qualifies for the one-shot category. Let’s leave this undecided.
So there we are — nine seasons and four movies. Please don’t ask me to redo this whole thing again when M:I-5 comes out, or this reviewer may self-destruct. Until then — “Mission… accomplished!”