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Mission: Impossible
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This article is about the original 1966–1973 television series. For other uses, see Mission: Impossible (disambiguation).


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Mission: Impossible
CBS-Milogo.jpg
Original series logo

Genre
Action/Adventure
Format
Espionage
Created by
Bruce Geller
Starring
Steven Hill
Barbara Bain
Barbara Anderson
Greg Morris
Peter Lupus
Peter Graves
Martin Landau
Leonard Nimoy
Lesley Ann Warren
Sam Elliott
Lynda Day George
Theme music composer
Lalo Schifrin
Country of origin
United States
No. of seasons
7
No. of episodes
171 (List of episodes)
Production

Running time
50 minutes
Production company(s)
Desilu Productions (1966–1967)
Paramount Television (1968–1973)
Distributor
CBS Television Distribution
Broadcast

Original channel
CBS
Picture format
NTSC (480i)
4:3
Audio format
Monaural
Dolby Digital 5.1 (DVD)
Original run
September 17, 1966 – March 30, 1973
Chronology

Followed by
Mission: Impossible (1988)
Diagnosis: Murder (1993)
Mission: Impossible is an American television series that was created and initially produced by Bruce Geller. It chronicles the missions of a team of secret government agents known as the Impossible Missions Force (IMF). In the first season, the team is led by Dan Briggs, played by Steven Hill; Jim Phelps, played by Peter Graves, takes charge for the remaining seasons. A hallmark of the series shows Briggs or Phelps receiving his instructions on a recording that then self-destructs, followed by the theme music composed by Lalo Schifrin.
The series aired on the CBS network from September 1966 to March 1973, then returned to television for two seasons on ABC, from 1988 to 1990, retaining only Graves in the cast. It later inspired a popular series of theatrical motion pictures starring Tom Cruise, beginning in 1996.


Contents  [hide]
1 Series overview 1.1 IMF agents
1.2 Cold War subtext
1.3 Adversaries unrelated to the Cold War
1.4 Fifth season
2 Format 2.1 Tape scene
2.2 Dossier scene
2.3 Apartment scene
2.4 Plan
2.5 Filming locations
2.6 Variations
2.7 Conclusion
3 Music 3.1 Soundtrack album
3.2 Theme from Mission: Impossible
4 Awards 4.1 Emmy
4.2 Golden Globe
4.3 Edgar
5 Inspirations and innovations
6 Broadcast history
7 Episodes
8 Home video
9 Franchise successors 9.1 Television revival
9.2 Feature films
9.3 Video games
9.4 Print
10 Notes
11 Bibliography
12 External links

Series overview[edit]

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The series follows the exploits of the Impossible Missions Force (IMF), a small team of secret agents used for covert missions against dictators, evil organizations and (primarily in later episodes) crime lords. On occasion, the IMF also mounts unsanctioned, private missions on behalf of its members.
The identities of the organization that oversees the IMF and the government it works for are never revealed. Only rare cryptic bits of information are ever provided during the life of the series, such as in the third season mission "Nicole", where the IMF leader states that his instructions come from "Division Seven". In the 1980s revival, it is suggested the IMF is an independent agency (as the FBI can only legally operate within the United States and the CIA can only operate outside the country). In the first motion picture, unlike the TV show, the IMF is depicted as part of the CIA.
IMF agents[edit]



 Steven Hill as Dan Briggs and Martin Landau as Rollin Hand (in disguise) in the premiere episode, September 17, 1966.
The leader of the IMF is initially Dan Briggs, played by Steven Hill. As an Orthodox Jew, Hill had to leave on Fridays at 4 p.m. to be home before sundown and was not available until after dark the next day. Although his contract allowed for filming interruptions due to religious observances, the clause proved difficult to work around due to the production schedule and as the season progressed, an increasing number of episodes featured little of Dan Briggs. Hill had other problems as well. After cooperatively crawling through dirt tunnels and repeatedly climbing a rope ladder in the episode "Snowball in Hell," in the following episode ("Action!") he balked at climbing a stairway with railings and locked himself in his dressing room. Unable to come to terms with Hill, the producers re-shot the episode without him (another character, Cinnamon Carter, listened to the taped message, the selected operatives' photos were displayed in "limbo", and the team meeting was held in Rollin Hand's apartment), and reduced Briggs' presence in the five episodes left to be filmed to a minimum.[1] As far as Hill's religious requirements were concerned, line producer Joseph Gantman simply had not understood what had been agreed to. He told author Patrick J. White, "'If someone understands your problems and says he understands them, you feel better about it. But if he doesn't care about your problems, then you begin to really resent him. Steven Hill may have felt exactly the same way".[2]
Hill was replaced without explanation to the audience after the first season by Peter Graves playing the role of Jim Phelps, who remained the leader for the remainder of the original series and in the 1988–1990 revival.



 Barbara Bain as Cinnamon Carter, 1969.
In theory, Briggs and Phelps are the only full-time members of the IMF. As the series was originally conceived, they would form teams made up of part-time agents who came from a variety of professions, choosing their operatives based on the particular skills necessary for the mission. In practice, however (especially after the first season), Briggs and especially Phelps would choose the same core group of three or four agents for every single mission, leading these regulars to be considered de facto full-time IMF agents. Still, many episodes also feature guest stars playing one-time additional agents who have special skills.
The regular agent line-up during the first season consisted of:
Cinnamon Carter (Barbara Bain), a top fashion model and actress
Barnard "Barney" Collier (Greg Morris), a mechanical and electronics genius and owner of Collier Electronics
William "Willy" Armitage (Peter Lupus), a world record-holding weight lifter
Rollin Hand (Martin Landau), a noted actor, makeup artist, escape artist, magician and "master of disguise"



 The Season 5 1970-1971 cast from left: Leonard Nimoy, Greg Morris, Lesley Ann Warren, Peter Lupus, and Peter Graves.
Landau was billed as a "special guest star" during the first season; he had been cast as a guest star for the pilot with the understanding that he would be one of four or five rotating guest star agents. His contract gave producers an option to have him "render services for (three or four) additional episodes". To fill the void left by Hill's Sabbath absences, producers wound up using Landau for more episodes, always as a "guest star". He eventually struck a deal to appear in all the first season's remaining episodes, but always billed as a "guest star" so that he could have the option to give notice to work on a feature film. Landau contractually became a series regular in season two.[3]
As actors left the series over time, others became regulars. Replacements often possessed the same skills as their predecessors. For example, "The Great Paris" (Leonard Nimoy), Hand's replacement in the fourth and fifth seasons, is also an actor, make-up artist, magician and "master of disguise." Also seen in seasons five and six is Dr. Doug Robert, played by Sam Elliott (according to White, the character was introduced as a replacement for Willy, but the idea was dropped once the producers realized how popular Willy was with viewers).
Cinnamon's "replacement" in season four was a series of guest stars, only one making more than one appearance: Lee Meriwether as Tracey. Season five saw the addition of Dana Lambert, played by stage and movie actress Lesley Ann Warren (billed as "Lesley Warren"). In seasons six and seven, the female member of the team was cosmetologist and mistress-of-disguise Lisa Casey (Lynda Day George), whose first name was only established in the 1988–1989 revival. She was replaced during most of her season seven maternity leave by Mimi Davis, played by Barbara Anderson, who had just come from the show Ironside.[4]
Morris and Lupus were the only actors to last through the full run of the original series. Morris also appeared in two episodes of the revival series, in which the character's son, Grant Collier (played by Morris's real-life son, Phil Morris), is also an IMF agent.
Full list of regular IMF agents:
Dan Briggs (Steven Hill) Season 1
Rollin Hand (Martin Landau) Season 1-3 (Man of a Million Faces)
Cinnamon Carter (Barbara Bain) Season 1-3
Barnard "Barney" Collier (Greg Morris) Season 1-7
William "Willy" Armitage (Peter Lupus) Season 1-7 (Strongest Man in the World)
Jim Phelps (Peter Graves) Season 2-7
Paris (Leonard Nimoy) Season 4-5 (The Great Paris)
Dana Lambert (Lesley Ann Warren) Season 5
Dr. Doug Robert (Sam Elliott) Season 5
Lisa Casey (Lynda Day George) Season 6-7
Mimi Davis (Barbara Anderson) Season 7
Cold War subtext[edit]
Although a Cold War subtext is present throughout the series, the actual Cold War between the United States and the Soviet Union is rarely mentioned over the course of the series. (See, for example, the mission objectives for "The Trial" and "The Confession" in Season One.) However, in the early years, specific locations behind the Iron Curtain are named (such as Lubyanka prison in the episode "Memory") and many of the targets appear to be leaders of fictional Slavic countries. Major named enemy countries include the "European People's Republic" and the "Eastern European Republic". Additionally, real languages spoken in Eastern Europe are used. In the Season One episode "The Carriers," one of the villains reads a book whose title is the (incorrect) Russian Na Voina (About War); police vehicles are often labelled as such with words such as "poliiçia", and "poIiia", and a gas line or tank would be labelled "Gaz" which is a Romanian translation. This "language", referred to by the production team as "Gellerese", was invented specifically to be readable by non-speakers of Slavic languages. Their generous use of it was actually intended as a source of comic relief. Uniforms of the target regime frequently include peaked caps, jackboots, and Sam Browne belts, hinting at connections with Nazi Germany or the Warsaw Pact.
In 2004, Professor Douglas Little of Clark University published a lengthy academic article explicitly linking the TV series to CIA history: "Mission Impossible: The CIA and the Cult of Covert Action in the Middle East".[5]
Adversaries unrelated to the Cold War[edit]
The IMF is also assigned to bring down corrupt politicians and dictators of Third World countries uninvolved in the Cold War, such as a particularly brutal practitioner of apartheid, or corrupt Central or South American nations, as well as organized crime figures, corrupt businessmen and politicians in the US. In two different first-season episodes, the mission is to stop the revival of the Nazi Party in Germany. Both episodes had Rollin Hand (played by Jewish actor Martin Landau) impersonate a leading Nazi figure – Martin Bormann in one case – in a successful effort to stop the revival. In season two, Hand would successfully impersonate Adolf Hitler in another mission to stop the revival of the Nazi Party in Germany.
As noted in the reference work The Complete "Mission: Impossible" Dossier by Patrick J. White, many IMF missions were essentially assassinations in disguise. In the first-season episode "Memory," it is established that the unspecified government agency behind the IMF has forbidden it to commit outright assassinations "as a matter of policy." To get around this restriction, many missions instead involve the IMF setting up its targets to be killed by their own people or other enemies. A notable example is the second season two-part story "The Council," later released to European movie houses under the title Mission Impossible vs. the Mob.[6] This policy is not consistently followed; for example, in the first season's "The Legend," Briggs' original plan is to personally shoot Nazi rallying-figure Martin Bormann, which is foiled by the discovery of a dummy and a tape recorder in the "man's" sick room. Gunplay is relatively rare on the part of the IMF, as its methods are more sophisticated and subtle like those used by con men to fleece the gullible, although several episodes in the early seasons (for example, the second season episode "The Spy," as well as in the pilot episode) do show the agents shooting people when necessary (usually underlings or enemy soldiers).
Fifth season[edit]
During the fifth season, with Paramount executives having gained greater control, new producer Bruce Lansbury began to phase out the international missions. These were more expensive to film, often requiring sets to be purpose built, along with special costuming, etc., all of which was far less necessary for "domestic" settings. This would manifest itself the following year with the IMF battling organized crime in most episodes, though this season still featured more international forays than not. These gangland bosses are usually associated with a criminal organization called "The Syndicate," a generic organization, or its franchises. Generally when describing such assignments, the tape message notes that the target is outside the reach of "conventional law enforcement." The objectives of such missions is usually simply to obtain evidence that might be admissible in court, often taking the form of tricking the mobsters into making a confession while being recorded. Manipulating the targets into killing one another became much less frequent as well. Lansbury also attempted to replace Peter Lupus, who was expressing dissatisfaction with his part at this time, with Sam Elliott. Over the course of the fifth season, Lupus' William "Willy" Armitage appeared in thirteen of its twenty-four episodes, to the outrage of fans who demanded Armitage's return.[7] By the end of the fifth season, Elliott was gone; he did appear in the first filmed episode of season six[8], and Lupus remained in the last two seasons, with Armitage being given a larger share of screen time and more demanding duties.
Format[edit]

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Mission: Impossible is noted for its format, which rarely changed throughout the series. Indeed the opening scenes acquired a ritualistic feel, befitting the "quasi-official" aura the program sought for the clandestine operations.
Tape scene[edit]
Most episodes begin with the leader of the IMF getting the assignment from a hidden tape recorder and an envelope of photos and information that explains the mission.[9] The tape almost always begins with "Good morning/afternoon/evening, Mr. Briggs/Phelps." (The only exception is the first season episode "Action!", in which Briggs does not appear; Cinnamon Carter listens to the briefing.) Then it explains the situation and ends with "Your mission Dan/Jim, should you decide to accept it" or words to that effect, with a brief explanation of the mission. The listener is reminded, "As always, should you or any of your I.M. Force be caught or killed, the Secretary will disavow any knowledge of your actions."[10] The instructions on the tape were read by voice actor Robert Cleveland "Bob" Johnson. At the end of the instructions, Phelps/Briggs is notified, "This tape will self-destruct in five [or, occasionally, "ten"] seconds. Good luck, Dan/Jim." Then smoke would rise from the tape, and the instructions would be destroyed. In filming, the tapes were not actually destroyed. Instead, smoke was piped into the tape recorder to create the illusion. In some initial episodes, however, self-destructing tapes were created by adding a chemical to the tape and blowing air onto it, forcing the chemical to react by crumbling. This method was abandoned due to cost.[11]
There were a few exceptions to the use of a tape and standard photos, including a record/darkroom motif and most notably a vintage phonograph that automatically scratched its record into oblivion. In a few instances, instructions at the end of the tape would ask Briggs/Phelps, "Please dispose of [or sometimes "destroy"] this recording in the usual manner." Briggs/Phelps would then throw it in an incinerator or use other means to render it unplayable, causing the recording to go up in flames.
There were a handful of exceptions to the "messages from the Secretary." Sometimes, circumstances more or less force a team into action. This first occurred in the program's opening season, when a "syndicate" boss kidnaps and threatens to kill the teenage daughter of a friend of Briggs unless he removes a grand jury witness against the mobster from police protective custody. How this man knew Dan was capable of such a task was not explained.[12] The last such instance was very near the end of the series, when the survivors of a previous IMF operation (Season Six's "Casino") recognize a vacationing Phelps from security camera photos and kidnap him to force his team to retrieve evidence that a plea-bargaining mobster is about to turn over to authorities.[13]
In the fifth season, the producers experimented with the format by sometimes eliminating the taped briefing (and/or the team meeting in Phelps' apartment), starting the episode with the mission already underway. In a few other cases, a personal matter involving Briggs, Phelps or another IMF operative would result in an "off-book" mission being undertaken. After the first year, an entire season's worth of "tape scenes" were usually filmed all at once prior to production of the rest of the episodes, and the crew never knew which tape scene would appear with which episode until it was broadcast.[14]
Some tape scenes were re-used, with only minor changes to various insert shots and Johnson's recorded voiceover. In the first season, for example, the same tape scene was used for both "Wheels" and "Legacy". The only differences were that ‘The Voice On Tape’ gave a different set of instructions in each episode, and there was very briefly a different set of insert shots of the photographs which Dan Briggs is viewing. The cost-saving practice of recycling tape scenes continued throughout the series run; generally each season reused at least one tape scene. One particular tape scene, of Jim finding a tape in a parking lot attendant's hut, was actually used in three widely scattered episodes: "The Astrologer", "Recovery" and "The Vault".
Dossier scene[edit]
Next would follow what White refers to as the "Dossier Scene". Briggs or Phelps would be shown in a fancy apartment, retrieving an oversized, leather-bound dossier folder from a locked drawer. Inside this folder were plastic-wrapped dossiers (usually featuring standard 8×10 "glossies" of the respective actors) of the available IMF agents. Briggs/Phelps would toss the selected agents' dossiers onto a table. According to White, most of the never-chosen dossiers were photographs of various series staffers and their wives, including Mr. and Mrs. Bruce Geller (the author reproduces one oft-rejected agent's photo and identifies it as actually being the executive producer.[15]) A contemporary article in TV Guide[volume & issue needed] claimed that many of the photos put aside in the "dossier scene" were of studio and network executives and that it was considered a measure of one's status in the studio and network hierarchies to appear there, but White makes no such statement.
In early seasons, the agents selected often included guest stars playing agents with skills not possessed by the usual team. A doctor, particularly a specialist in a condition known to afflict the target, was a common sort of "guest agent". In numerous early episodes, the IMF leader would choose only two or three team members, though at least one of the main credited cast members was always involved. One episode, "Elena," featured a team consisting of Rollin Hand and Dr. Carlos Enero (guest star Barry Atwater);[16] because of Landau's official status at that point as frequent guest star this meant that technically none of the series' regular players was involved. Almost as often, however, Briggs would choose all of the regulars, plus one, two, or even three others.
In later seasons, the team was much more stable, consisting of the regular cast for the season, and the use of guest agents became markedly less frequent. Numerous dossier scenes from the Peter Graves episodes feature Jim poring through the photographs, only to once again choose the series regulars that had just been shown in the opening credits. By the third season, the dossier scene had been deemed somewhat disposable, appearing only when needed to introduce a guest agent. The first mission submitted by the Secretary that did not have the dossier scene was the last mission of the second season, "The Recovery".
After a period of being seen only occasionally, the dossier scene was seen again frequently in season four, due to the lack of a regular female team member in that season. It was dropped entirely as of season five.
In the pilot episode, the recorded message states that the team leaders have unlimited resources and wide discretion in choosing their team. Who devises the plan is never made clear, although the team leader is often shown writing or making notes. Preparations and the necessary logistics were almost never shown, although they are generally implied by the scenes that depict various steps of the mission. It is implied that only a short period of time elapses from the initial assignment until the team is in the field. Early episodes occasionally showed more of the preliminaries. "Memory" features a montage of Dan Briggs training a guest agent to assume the role he will play in the mission. "Old Man Out, Part 1" includes a scene of Briggs approaching an operative (played by Mary Ann Mobley) in order to recruit her, meeting with resistance before he finally convinces her to join the mission.
Apartment scene[edit]
In the third segment of the opening act, called the "Apartment Scene" by White, the team would next be shown convening for their final briefing in the leader's apartment. Although the series was shot in color, the apartment had a color scheme composed of black, white, and shades of gray, such that the apartment was sometimes referred to off-camera as the black-and-white room (Steven Hill once suggested that an American flag be placed on a wall of Briggs' apartment, but Bruce Geller vetoed it in order to maintain the color scheme[17]). Two exceptions are the first season episodes, "Operation Rogosh", when the team immediately springs into action to capture their target in a staged auto accident, and the aforementioned episode "Action!", where the team meeting took place in Cinnamon Carter's apartment.[18]
The Apartment Scene acted as a teaser. In discussing the plan and their roles in it, the team members would make vague references to preparations necessary for its successful execution while leaving most details undisclosed. This scene also demonstrated and thereby established credibility for various gadgets or ploys that were key to the plan, such as a TV camera hidden in a brooch, a miniature radio-controlled hovercraft, a chess-playing computer, a "mentalist" or sleight-of-hand act, or a trained animal. In addition, this scene would establish, or at least hint at, the specialties and roles of any guest-star agents. Team members posing questions about aspects of the plan or why an alternative was not considered provided the writers with an opportunity to offer explanations for what otherwise might have seemed plot holes. When summing up, Phelps would often stress the difficulties in the action they were about to undertake or some key element of the plan vital to its success, such as a deadline by which the mission had to be completed.
During the fifth season, the producers decided to drop the dossier scene and phase out the tape and apartment scenes. By the end of the season, however, it had been decided to keep the tape and apartment scenes, but the dossier-choosing scene was eliminated for the rest of the series run (this is White's version, but in fact episodes missing the tape and/or the meeting scenes were few). The 1980s revival reinstated the "dossier scene" in the first episode, when Phelps selects his new team, but since he keeps the same team in subsequent episodes, no subsequent dossier scenes were made.
Plan[edit]



 Martin Landau in Mission: Impossible (1968)
The episode then depicted the plan being put into action. This almost always involved very elaborate deceptions, usually several at the same time. Facilitating this, certain team members are masters of disguise, able to impersonate someone connected to the target or even the target himself. This is accomplished with realistic latex face masks and make-up. Some impersonations are done with the explicit cooperation of the one being impersonated. Also bona fides would be arranged to aid infiltrating the target organization. In some cases, the actor playing the IMF agent also portrayed the person to be impersonated (this most frequently occurred during Martin Landau's tenure on the series, notably in the pilot) or the voice of the person being impersonated was dubbed. In other cases, a guest star would play the dual role of both the original and the imposter (Rollin, Paris, or Casey). Sometimes one or more IMF team members would allow themselves to be captured in order to gain more access to or knowledge of the organization they are infiltrating, either by conversing with the target or being held in a jail cell and hatching their plan there.
A few episodes of the early seasons showed the painstaking creation and application of these masks, usually by disguise and make-up expert Rollin Hand. This was later omitted as the series progressed and the audience presumably became familiar with the mechanics of the team's methods. In the 1980s revival, the mask-making process involved a digital camera and computer and was mostly automatic. Most episodes included a dramatic "reveal" (also referred to as the "peel-off") near the end of the episode in which the team member would remove the mask.
Various other technological methods are commonly used as well. The team would often re-route telephone or radio calls so these could be answered by their own members. Faked radio or television broadcasts are common, as are elevators placed under the team's control. In some missions, a very extensive simulated setting is created, such as a faked train journey, submarine voyage, aftermath of a major disaster, or even the taking over of the United States by a foreign government. A particularly elaborate ploy, used on more than one occasion, sees the IMF working to convince their target that several years had passed while the target was in a coma or suffering from amnesia. In one episode, the IMF even convince their target (an aging mobster played by William Shatner) that time has somehow been turned back more than thirty years and he is a young man again.
The team would usually arrange for some situation to arise with which the target would have to deal in a predictable way, and the team would then arrange the circumstances to guide the outcome to the desired end. Often the plans turn on elaborate psychology, such as exploiting rivalries or an interest in the supernatural. Many plans simply cause the target to become confused or erratic or irrational, lose self-assurance, lose trust in subordinates or partners, etc., so that either the target would do what the team wanted (by falling back on predictable acts of desperation), or else the target's subordinates would replace the target and then act according to the team's predictions. These various ploys would usually result in either information being revealed to the team, or the target's disgrace and discrediting, or both.
In many early episodes, the mission was to "neutralize" the target and it was made clear that the target is ultimately shot by his superiors, staff, or rivals, though this was usually not shown on screen. In later seasons, where the targets were usually organized-crime figures or similar, the goal of the mission is often simply to collect incriminating evidence not obtainable by "conventional law-enforcement agencies." The team is not above falsifying such evidence as a last resort.
Dramatic tension was provided by situations in which team members appear to be in danger of being discovered (especially before commercial breaks). Sometimes unexpected events occur that force the team to improvise. On occasion, an outside party or one of the targets realize what is happening and put the plan at risk.
William Read Woodfield and Allan Balter served as story consultants for the first two seasons. According to White[19], Woodfield and Balter relied heavily on The Big Con, written by David W. Maurer, for their inspiration. Hence Briggs/Phelps became the "grifter-in-charge;" Rollin Hand and Cinnamon Carter were highly effective "ropers," and Barney Collier and Willy Armitage were experts at building and/or equipping "big stores." Woodfield and Balter later became producers of the third season. They did not last long and were dismissed for believing that executive producer Geller had no authority over them.
Filming locations[edit]

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The original series was filmed almost exclusively around Hollywood and the Los Angeles Basin. The series opener was held at the Griffith Park Observatory with special guest star Wally Cox. Pasadena and the Caltech campus were common locations. Another noted location was the Bradbury Building, used in other films and series (from The Outer Limits to Blade Runner). During the final season, most of the exterior shots are of San Francisco, including the City Hall building and Opera House. The later revival series (1988-1990) was shot entirely in Australia, although it purported to have Phelps living in San Francisco.
Variations[edit]

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Several times the series deviated from the standard format. In one episode of the original series, a gangster kidnaps the daughter of a friend of Dan Briggs and forces him to abduct a witness against him. In another, a mistake causes Cinnamon Carter to be exposed and captured by the villains, and Jim Phelps has to prepare a plan to rescue her. Another episode featured Phelps on a personal mission, when he returns to his small hometown for a visit and finds a series of murders among his childhood acquaintances, which the local law enforcement chief is unqualified to cope with. In one episode, a friend of Jim Phelps is framed for murder, giving Jim only 24 hours to find the real killer, prove his friend's innocence and save his life. On two occasions, he is captured and the team has to rescue him. In the 1980s series, former IMF agent Barney Collier is framed for a crime he did not commit and the IMF team has to extricate him, leading to a reuniting of Barney with his son and IMF agent Grant Collier (played by real-life father and son Greg and Phil Morris). Willy is shot and captured in one episode, and captured and tortured by a drug kingpin in another. Paris is kidnapped and brainwashed in an attempt to get him to kill Phelps. Jim and Rollin are on a hunting trip when Jim is taken mysteriously ill. (It turns out the residents of a "Norman Rockwell" town are hired assassins, who attempt to poison Phelps when he stumbles on their secret.)
Conclusion[edit]

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In most cases, the action lasted right up to the final seconds, with the episode ending in a freeze frame as the IMF team make their escape, another successful mission concluded. Most often they leave in a nondescript panel truck. A dramatic device frequently used at the end was the sound of a gunshot or a scream in the distance as the target is killed by his associates, while the IMF team make their getaway. In the 1980s revival, this format was altered with the addition of a tag scene showing the IMF team regrouping (often still in disguise) and walking away. From the middle of the first season onwards, Jim Phelps often makes a quip.
Music[edit]
Aside from the now iconic main theme, as well as the motif called "The Plot" which usually accompanied scenes of the team members carrying out the mission, the background music would incorporate minimalist innovations of percussion such as simply a snare drum and cymbals to build tension during the more "sneaky" moments of the episodes (sometimes accompanied by a flute playing in low tessitura). These quieter passages would greatly contrast the more bombastic fanfares when a mission member is at risk of getting caught just prior to a commercial break.
The main theme was composed by Argentine composer, pianist and conductor Lalo Schifrin and is noted for being in 5/4 time. About the unusual timing, Schifrin declared that "things are in 2/4 or 4/4 because people dance with two legs. I did it for people from outer space who have five legs."[20] "The Plot" was also composed by Schifrin, who scored three episodes in the first season and went on to score at least one or two episodes for most of the other seasons (season two is the only one to have no Schifrin-scored episodes, in part because he was helping to launch Geller's new series Mannix).
Schifrin was awarded two Grammys at the 10th Grammy Awards for his work on the first series (Best Instrumental Theme and Best Original Score for a Motion Picture or TV Show).[21] He was also nominated for two Emmys (for the first and third seasons).Among the other composers to work on the series were Jerry Fielding, Walter Scharf, Gerald Fried, Richard Markowitz, Benny Golson, Robert Drasnin, and Hugo Montenegro.
Soundtrack album[edit]
Although two albums of re-recorded music from the original series had previously been released under Schifrin's name, Music from Mission: Impossible (Dot, 1967) and More Mission: Impossible (Paramount, 1968) the original scores were not commercially available until 1992 when GNP Crescendo released The Best of Mission: Impossible – Then and Now[22] featuring five scores by Lalo Schifrin for the original series and five by John E. Davis for the revival (Schifrin also scored three episodes of the revival, including the premiere, but none were included.)
1."Mission: Impossible – Main Title" 0:49
2."The Plot" (from "The Contender, Part 1") 0:51
3."Ready" (from "The Contender, Part 1") 3:12
4."Rollin" (from "The Contender, Part 1") 0:44
5."Time" (from "The Contender, Part 1") 0:46
6."Sleeping Phelps" (from "The Contender, Part 1") 1:11
7."More Plot" (from "Submarine") 2:39
8."Mission: Impossible Theme" (from "Submarine") 1:10
9."Bower Hotel" (from "The Killer") 1:55
10."Check Out Time" (from "The Killer") 2:45
11."The Trick" (from "The Killer") 2:16
12."Signal Light" (from "Takeover") 0:42
13."Kate Thomas" (from "Takeover") 1:28
14."Tape Machine" (from "Underground") 3:17
15."Good Job" (from "Underground") 0:47
16."Mission: Impossible – End Credit" 0:29
17."Mission: Impossible '88 – Main Title" 1:03
18."Tricky Years" (from "The Plague") 0:38
19."This Is the Chase" (from "The Plague") 2:40
20."Croc Bait" (from "Bayou") 1:46
21."Not Worth It" (from "The Bayou") 3:38
22."Nice Boat" (from "The Cattle King") 0:59
23."Bait the Hook" (from "The Cattle King") 1:48
24."Hot Time" (from "The Cattle King") 0:44
25."I Guess It Is" (from "The Cattle King") 1:17
26."Freak Time" (from "The Cattle King") 1:34
27."Whacko Time" (from "The Cattle King") 1:42
28."Melt Down" (from "Deadly Harvest") 2:00
29."Framed" (from "Deadly Harvest") 2:05
30."Coffee" (from "Church Bells in Bogota") 1:16
31."Ring Around the Finger" (from "Church Bells in Bogota") 1:17
32."Mission: Impossible '88 – End Credit" 0:35
33."An Interview with Peter Graves" 14:55
34."Mission: Impossible Theme" – Israeli Philharmonic cond. Lalo Schifrin 6:07
Theme from Mission: Impossible[edit]
An electronic dance version of the theme song by U2 bandmates Larry Mullen, Jr. and Adam Clayton was released in 1996 to great success, and it was nominated for a Grammy Award for Best Pop Instrumental Performance (losing out to Béla Fleck and the Flecktones' "The Sinister Minister").
Awards[edit]
Emmy[edit]
Actress in a Leading Role in a Dramatic Series – Barbara Bain, 1967–1969
Dramatic Series – Joseph Gantman and Bruce Geller, producers, 1967
Writing Achievement in Drama – Bruce Geller, 1967
Dramatic Series – Joseph Gantman, producer, 1968
Outstanding Achievement in Film Sound Mixing - Gordon L. Day and Dominick Gaffey, "The Submarine", CBS, 1969–1970
Golden Globe[edit]
Television Series – Drama, 1968
Actor in a Television Series – Drama – Martin Landau, 1967
Actor in a Television Series – Drama – Peter Graves, 1971
Edgar[edit]
Best Episode in a TV series – Jerome Ross, for "Operation Rogosh", 1967
Inspirations and innovations[edit]
A key inspiration for Geller in creating the series was the 1964 Jules Dassin film Topkapi, innovative for its coolly existential depiction of an elaborate heist. Geller switched the story away from the criminals of Topkapi to the good guys of the IMF, but kept Dassin's style of minimal dialogue, prominent music scoring and clockwork-precision plots executed by a team of diverse specialists. Several episodes in fact show close-up shots of an agent's wristwatch to convey the suspense of working on a deadline.
One of the more controversial points of Geller's was his insistence on minimizing character development. This was done intentionally both because he felt that seeing the characters as tabulae rasae would make them more convincing in undercover work, and because he wanted to keep the focus on the caper and off the characters themselves. Geller would even veto the writers' attempts to develop the characters in the episodes. This is why, even after Geller was removed from the show, the IMF agents would only have one scene at Jim's apartment where they interacted, and they were rarely if ever seen in their "real" lives.
As a side effect of this, cast turnover was never once explained on the show. None of the main characters ever died or were disavowed in the original series, but a character could disappear between episodes without mention or acknowledgment. The 1980s revival, however, did kill off a main character on screen; Bruce Geller had died on May 27, 1978 in a plane crash in Santa Barbara, California, so he was unable to potentially veto the decision. Mimi Davis is the only character whose recruitment as an IMF agent shown on screen, although such a scene was filmed for Dana Lambert (Lesley Ann Warren) and discarded.[23] The 1980s revival otherwise stayed true to Geller's edict, with the occasional brief exception.
The producers of Mission: Impossible were sued for plagiarism by the creators of an ABC show called 21 Beacon Street. The suit was settled out of court. Geller claimed never to have seen the earlier show; Beacon Street's story editor and pilot scripter, Laurence Heath, would later write several episodes of M:I.[24]
Writer William Read Woodfield was a fan of David Maurer's nonfiction book about con artists, The Big Con (also an unofficial inspiration for The Sting), and many episodes are strikingly similar to cons described in the book.[25]
The tape scene is very similar to one described in the 1964 Nick Carter-Killmaster novel Saigon, published in December 1964 and repeated in the 1966 novel Danger Key (copyright registered in February 1966). In the novels, secret agent Carter receives a package from his boss which, when activated, plays a tape-recorded message that self-destructs after playing once.
Part of each episode's title sequence was highly unusual, as it was composed of a number of very short clips of key scenes from the subject episode. This was, and remains, very rare for series television. However, it was already being done as of the previous season on I Spy, which like Mission had the lighting of a fuse leading to it. The hand with the match was, until sometime in the sixth season, that of creator Bruce Geller; in the revival series, the hand belonged to Peter Graves, who was shown holding the match. Several British teleseries produced by Gerry Anderson and his then wife Sylvia Anderson, the contemporaneous Thunderbirds and the mid-1970s Space: 1999 (which starred M:I alumni Martin Landau and Barbara Bain) among them, also did this. The reimagined Battlestar Galactica TV series also used this device. The clips in the opening sequence were chosen to showcase dramatic moments in the upcoming mission, such as moments of surprise, moments of violence, or equipment in use. In particular, the first clip shown was often someone getting punched and/or knocked out. For the first two seasons, the closing credits showed clips from that mission in freeze frame. At the start of 1968, when Paramount took over from Desilu, the same clips were shown during the closing credits across episodes; later seasons eschewed that approach, featuring a freeze frame of the hand lighting the fuse.
Mission: Impossible is still recognized for its innovative use of music. Composer Lalo Schifrin wrote several distinctive pieces for the series. The visual cuts in the main title sequence were timed to the beats and measures of the theme tune—written in (unusual) 5/4 time—while an animated burning fuse moved across the screen. Most episodes included fairly long dialogue-free sequences showing the team members—particularly electronics expert Barney Collier—making technical preparations for the mission, usually to the accompaniment of another easily recognizable tune called "The Plot." Lalo Schifrin also wrote a theme piece for each main character and the sound track for each episode incorporated variations of these throughout. Even when an episode's score is credited to some other composer, Desilu's music supervisor Jack Hunsacker would re-edit it, adding Schifrin melodies from the library.[26] The series had great impact on film and TV music. Before Mission: Impossible, a common compliment was along the lines of "the score worked very well but never got in the way or called attention to itself." By contrast, Mission: Impossible was praised for the prominence of its music.
At 171 episodes, the original version of Mission: Impossible held the record for having the most episodes of any English-language espionage television series for over 35 years (about 10 more episodes than its nearest rival, the UK-produced The Avengers). Its record was broken during the eighth season of 24 in 2010.[citation needed]
Reruns of Mission: Impossible are still shown daily on Me-TV affiliate TV stations[27] and the cable service Youtoo TV.[citation needed] It is also available in its entirely on Netflix.
Broadcast history[edit]
NOTE: The most frequent time slot for the series is in bold text.
Saturday at 9:00-10:00 PM on CBS: September 17, 1966—January 7, 1967
Saturday at 8:30-9:30 PM on CBS: January 14—April 22, 1967
Sunday at 9:00-10:00 PM on CBS: September 10, 1967—March 29, 1970
Saturday at 7:30-8:30 PM on CBS: September 19, 1970—March 17, 1971
Saturday at 10:00-11:00 PM on CBS: September 18, 1971—December 9, 1972
Friday at 8:00-9:00 PM on CBS: December 22, 1972—March 30, 1973
Episodes[edit]
Main article: List of Mission: Impossible episodes
Home video[edit]
In North America, Mission: Impossible received limited VHS format release in the waning days of video cassettes: There was a subscription through Columbia House; GoodTimes Home Video issued a sell-through version of Episode 3, "Memory" (under the multiply erroneous title "Butcher of Balkens"); and Paramount Home Video released twelve two-episode volumes of "The Best of Mission: Impossible," six tapes at a time, in 1996 and 2000. Twelve episodes were also released on Laserdisc.
CBS DVD (distributed by Paramount) has released all seven seasons of Mission:Impossible on DVD in Regions 1, 2 & 4. The first season of the 1980s revival was released in the fall of 2011, with the second and final season announced for spring 2012.
On December 11, 2012, Paramount released Mission: Impossible: The Complete Television Collection on DVD in Region 1. The 56-disc collection will feature all 171 episodes of the series as well as bonus features.[28]

DVD title
Ep #
Release date

Region 1
Region 2
Region 4
The Complete 1st Season 28 December 5, 2006 November 20, 2006 November 30, 2006
The Complete 2nd Season 25 June 5, 2007 May 7, 2007 April 12, 2007
The Complete 3rd Season 25 October 29, 2007 October 29, 2007 November 8, 2007
The Complete 4th Season 26 May 13, 2008 May 5, 2008 May 15, 2008
The Complete 5th Season 23 October 7, 2008 February 9, 2009 November 6, 2008
The Complete 6th Season 22 April 28, 2009 May 18, 2009 October 1, 2009
The Complete 7th Season 22 November 3, 2009 March 22, 2010 October 1, 2009
The Complete Collection 171 December 11, 2012 N/A N/A
Franchise successors[edit]
Television revival[edit]
Main article: Mission: Impossible (1988 TV series)
In 1980, media reports indicated that a reunion of the original cast was in the planning stages, for a project to be called Mission: Impossible 1980. Ultimately this project was delayed into 1983 (with the working title suitably updated repeatedly) before being cancelled altogether due to one plot after another being deemed inappropriate and unacceptable.[29] In 1984, another proposed M:I reunion was to have been a theatrical film, titled Good Morning, Mr. Phelps (Mission: Impossible The Movie). Ultimately, the proposed large budget sank this project.[30]
In 1988, the American fall television season was hampered by a writers' strike that prevented the commissioning of new scripts. Producers, anxious to provide new product for viewers but with the prospect of a lengthy strike, went into the vaults for previously written material. Star Trek: The Next Generation, for example, used scripts written for an aborted Star Trek series proposed for the 1970s. The ABC network decided to launch a new Mission: Impossible series, with a mostly new cast (except for Peter Graves, who would return as Phelps), but using scripts from the original series, suitably updated. To save even more on production costs, the series was filmed in Australia; the first season in Queensland, and the second in Melbourne. Costs were, at that time, some 20 percent lower in Australia than in Hollywood. The new Mission: Impossible was one of the first American commercial network programs to be filmed in Australia.
According to Patrick White's book, the original plan was for the series to be an actual remake of the original series, with the new cast playing the same characters from the original series: Rollin Hand, Cinnamon Carter, et al. Just before filming began, White writes, the decision was made to rework the characters so that they were now original creations, albeit still patterned after the originals, with only Jim Phelps remaining unchanged.[31]
The new series was not a hit, but it was produced cheaply enough to keep it on the ABC schedule. The new M:I ultimately lasted for two years; the writers' strike was resolved quickly enough that only four episodes were actual remakes, which, along with the decision to change the character names and backgrounds, resulted in the series being considered a continuation of the original series, rather than simply a remake.
The original series formula described above was largely repeated in the second Mission: Impossible series of the 1980s, though the writers took some liberties and tried to stretch the rules somewhat. Most notably, by the time of the revival series, the Impossible Mission Force was no longer a small, clandestine operation, but larger in scale, with references now made to IMF divisions and additional teams similar to the one run by Phelps. One episode of the later series featured the only occasion in which a regular IMF agent was killed on a mission and subsequently disavowed. The 1980s series also had IMF agents using technology that nearly pushed the series into the realm of science fiction, such as one gadget that could record dreams, and another that allowed the IMF to change the surfaces (actually digital screens) of special playing cards to appear to be whatever cards the plan required.
The revived series included special appearances by several 1960s–70s IMF veterans, including Lynda Day George, and Greg Morris as Barney; Morris's son, Phil Morris, played Barney's son in the new series. Four guest stars from the original run all played targets here, Alex Cord, James Shigeta, and in the same episode, Barbara Luna and Australian Michael Pate.
Feature films[edit]
Main article: Mission: Impossible (film series)
A feature film based upon the series was first proposed in 1978, then to be made for TV. This was the first of several attempts through the 1980s, but no feature production materialized.[32] Later — in 1996, 2000, 2006 and 2011 — four feature films, produced by and starring Tom Cruise, were released.
Video games[edit]
In 1979, Scott Adams released Mission Impossible, a text adventure game that placed the player in the role of a secret agent trying to save the world. Evidently Adams had failed to acquire the rights to use the name as the game was quickly reissued under the modified name Impossible Mission and later Secret Mission.[33] Beyond the title and the name of "Mr. Phelps" which is mentioned on the tape recording at the very beginning of the game, it had no overt connection to the TV series.
In 1991, video game designer Konami created a Nintendo Entertainment System game called Mission: Impossible, based on the revived series. The game is considered quite well crafted and challenging.
After the 1996 movie, a video game adaptation was released for the Nintendo 64 and Sony PlayStation. Another adaptation for the Game Boy Color followed soon after.
In 2003, Atari has published Mission: Impossible – Operation Surma, a video game developed by Paradigm Entertainment for Xbox, PlayStation 2 and Nintendo GameCube. The game featured characters from the film series in an original story and had Ving Rhames reprising his role in the as the IMF agent and computer expert Luther Stickell.
In November 2011, Paramount Pictures and Funtactix had released Mission: Impossible – The Game, a social game for Facebook that was based on the first three Mission: Impossible movies and on December released a special extension based on the fourth movie, just before the release of Mission: Impossible – Ghost Protocol.[34]
Print[edit]
A number of original Mission: Impossible novels based upon the series were published in the late 1960s.
Popular Library published the following between 1967 and 1969:
1.Mission: Impossible by John Tiger (1967)
2.Code Name: Judas by Max Walker (1968)
3.Code Name: Rapier by Walker (1968)
4.Code Name: Little Ivan by Tiger (1969)
In addition, two hardback novels for young readers were published by Whitman Books, both by Talmage Powell:
1.The Priceless Particle (1969)
2.The Money Explosion (1970)
Of the above, only the 1967 John Tiger novel featured the team as led by Dan Briggs; the rest all featured the Jim Phelps-era IMF.
Dell Comics published a Mission: Impossible comic book on a sporadic schedule that lasted from the mid-1960s to the early 1970s. Only five issues were published before the series was cancelled. The first four issues were original publications; the fifth issue was a reprint of the first.[35] In 1996, Marvel Comics published a single-issue Mission: Impossible comic which served as a prequel to the 1996 feature film.[36]
In 1968, the GAF Corporation of Portland, Oregon/Paramount Films released a View-Master (21 stereo pictures in 3 round discs) with a 16-page story booklet ..."Good morning Mr Phelps. The man you are looking at is Dr. Erich Rojak, the nuclear physicist who has been missing..."[citation needed]
Notes[edit]
1.Jump up ^ White 1991, pp. 98–99.
2.Jump up ^ White 1991, p. 59.
3.Jump up ^ White 1991, p. 60.
4.Jump up ^ White 1991, p. 337.
5.Jump up ^ Douglas Little (November 2004). "Mission Impossible: The CIA and the Cult of Covert Action in the Middle East". Diplomatic History 28 (5): 663–701. doi:10.1111/j.1467-7709.2004.00446.x.
6.Jump up ^ White 1991, p. 134.
7.Jump up ^ White 1991, pp. 281–84.
8.Jump up ^ White 1991, pp. 340–41.
9.Jump up ^ The Mission: Impossible Tape Scenes
10.Jump up ^ Biederman 2004, p. 82.
11.Jump up ^ Biederman 2004, p. 85.
12.Jump up ^ White 1991, p. 78.
13.Jump up ^ White 1991, p. 409.
14.Jump up ^ White 1991, p. 12.
15.Jump up ^ White 1991, p. 48.
16.Jump up ^ White 1991, p. 79.
17.Jump up ^ White 1991, p. 14.
18.Jump up ^ White 1991, p. 99.
19.Jump up ^ White 1991, p. 163.
20.Jump up ^ Karger, Dave (June 7, 1996). "They Shot, He Scored". Entertainment Weekly. Retrieved 2011-01-11.
21.Jump up ^ 1967 Grammy Awards accessed March 7, 2012
22.Jump up ^ The Best of Mission: Impossible: Then and Now at MusicBrainz
23.Jump up ^ White 1991, p. 294.
24.Jump up ^ White 1991, pp. 8–9.
25.Jump up ^ White 1991, p. 17.
26.Jump up ^ White 1991, p. 50.
27.Jump up ^ Mission: Impossible on Me-TV
28.Jump up ^ "Mission: Impossible DVD news: Announcement for Mission: Impossible - The Complete Television Collection". TVShowsOnDVD.com. Retrieved May 11, 2013.
29.Jump up ^ White 1991, pp. 429–31.
30.Jump up ^ White 1991, pp. 431–32.
31.Jump up ^ White 1991, pp. 433–34.
32.Jump up ^ White 1991, pp. 429–33.
33.Jump up ^ "Secret Mission", Adventure International, If legends
34.Jump up ^ Mission: Impossible Invades Facebook with New Ghost Protocol Game Tie-In, Gamer live
35.Jump up ^ Mission: Impossible (1967) - The Comic Book Database
36.Jump up ^ Mission: Impossible (1996) - The Comic Book Database
Bibliography[edit]
White, Patrick J (1991), The Complete Mission: Impossible Dossier, New York: Avon Books.
Biederman, Daniel ‘Danny’; Wallace, Robert (2004), The incredible world of spy-fi: wild and crazy spy gadgets, props, and artifacts from TV and the movies, San Francisco: Chronicle Bools.
External links[edit]

Portal icon Television in the United States portal
Portal icon 1960s portal
Portal icon 1970s portal
Mission: Impossible at TV.com
Mission: Impossible at the Internet Movie Database
"Mission: Impossible", Encyclopedia of Television.
"Mission: Impossible Episode Guide", TV Gems.
Mission: Impossible — The Game.
Mission: Impossible — memorabilia of the show, such as Dell comics, toys, posters &c.
Comics: database and cover gallery for the Dell comic book series.


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List of Mission: Impossible episodes
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The television series Mission: Impossible was created by Bruce Geller. The original series premiered on the CBS network in September 1966 and consisted of 171 one-hour episodes running over seven seasons before ending in March 1973.[1] A remake of the series premiered on the ABC network in October 1988 and consisted of 35 episodes running over two abbreviated seasons before ending in February 1990. This article lists episodes from both series, including both broadcast order and production order, which often differed considerably.


Contents  [hide]
1 Series overview 1.1 Original series (1966–1973)
1.2 Series remake (1988–1990)
2 Original series (1966–1973) 2.1 Season One (1966–1967)
2.2 Season Two (1967–1968)
2.3 Season Three (1968–1969)
2.4 Season Four (1969–1970)
2.5 Season Five (1970–1971)
2.6 Season Six (1971–1972)
2.7 Season Seven (1972–1973)
3 Series remake (1988–1990) 3.1 Season One (1988–1989)
3.2 Season Two (1989–1990)
4 References
5 External links

Series overview[edit]
Original series (1966–1973)[edit]

Season
Episodes
Originally aired
DVD release dates

Season premiere
Season finale
Time slot
Region 1
Region 2
Region 4
 1 28 September 17, 1966 April 22, 1967 Saturday at 9:00-10:00 pm (EST)
(September 17, 1966 - January 7, 1967)
 Saturday at 8:30-9:30 pm (EST)
(January 14 - April 22, 1967) December 5, 2006[2] November 20, 2006[3] November 30, 2006[4]
 2 25 September 10, 1967 March 17, 1968 Sunday at 10:00-11:00 pm (EST) June 5, 2007[5] May 7, 2006[6] April 12, 2007[7]
 3 25 September 29, 1968 April 20, 1969 November 20, 2007[8] November 20, 2007[9] October 29, 2007[10]
 4 26 September 28, 1969 March 29, 1970 May 13, 2008[11] May 5, 2008[12] May 15, 2008[13]
 5 23 September 19, 1970 March 17, 1971 Saturday at 7:30-8:30 pm (EST)
(September 19, 1970 - March 6, 1971)
 Wednesday at 7:30-8:30 pm (EST)
(March 17, 1971) October 7, 2008[14] February 9, 2009[15] November 6, 2008[16]
 6 22 September 18, 1971 February 26, 1972 Saturday at 10:00-11:00 pm (EST) April 28, 2009[17] May 18, 2009[18] October 1, 2009[19]
 7 22 September 16, 1972 March 30, 1973 Saturday at 10:00-11:00 pm (EST)
(September 16 - December 9, 1972)
 Friday at 8:00-9:00 pm (EST)
(December 22, 1972 - March 30, 1973) November 3, 2009[20] March 22, 2010[21] October 1, 2009[22]
Series remake (1988–1990)[edit]

Season
Episodes
Originally aired
DVD release dates

Season premiere
Season finale
Time slot
Region 1
Region 2
Region 4
 1 19 October 23, 1988 May 6, 1989 Sunday at 8:00-9:00 pm (EST)
(October 23, 1988 - January 15, 1989)
 Saturday at 8:00-9:00 pm (EST)
(January 28 - May 6, 1989) November 29, 2011[23] N/A N/A
 2 16 September 21, 1989 February 24, 1990 Thursday at 8:00-9:00 pm (EST)
(September 21 - December 14, 1989)
 Saturday at 8:00-9:00 pm (EST)
(January 6 - February 24, 1990 February 28, 2012[24] N/A N/A
Original series (1966–1973)[edit]
Season One (1966–1967)[edit]
Main article: Mission: Impossible (1966-1973) (season 1)

Series
 #
Episode
 #
Title
Directed by
Written by
Original Airdate
Production
 #[25]

1
1 "Pilot" Bernard L. Kowalski Bruce Geller September 17, 1966 1
2
2 "Memory" Charles R. Rondeau Robert Lewin September 24, 1966 3
3
3 "Operation Rogosh" Leonard J. Horn Jerome Ross October 1, 1966 4
4
4 "Old Man Out: Part 1" Charles R. Rondeau Ellis Marcus October 8, 1966 2A
5
5 "Old Man Out: Part 2" Charles R. Rondeau Ellis Marcus October 15, 1966 2B
6
6 "Odds on Evil" Charles R. Rondeau William Read Woodfield & Allan Balter October 22, 1966 5
7
7 "Wheels" Tom Gries Laurence Heath October 29, 1966 8
8
8 "The Ransom" Harry Harris William Read Woodfield & Allan Balter November 5, 1966 9
9
9 "A Spool There Was" Bernard L. Kowalski Ellis Marcus November 12, 1966 6
10
10 "The Carriers" Sherman Marks William Read Woodfield & Allan Balter November 19, 1966 13
11
11 "Zubrovnik's Ghost" Leonard J. Horn Robert Lewin November 26, 1966 11
12
12 "Fakeout" Bernard L. Kowalski Leigh Chapman December 3, 1966 7
13
13 "Elena" Marc Daniels Ellis Marcus December 10, 1966 10
14
14 "The Short Tail Spy" Leonard J. Horn Julian Barry December 17, 1966 14
15
15 "The Legacy" Michael O'Herlihy William Read Woodfield & Allan Balter January 7, 1967 15
16
16 "The Reluctant Dragon" Leonard J. Horn Chester Krumholz January 14, 1967 16
17
17 "The Frame" Allen Miner William Read Woodfield & Allan Balter January 21, 1967 17
18
18 "The Trial" Lewis Allan Laurence Heath January 28, 1967 12
19
19 "The Diamond" Robert Douglas William Read Woodfield & Allan Balter February 4, 1967 18
20
20 "The Legend" Richard Benedict Mann Rubin February 11, 1967 19
21
21 "Snowball in Hell" Lee H. Katzin Judith & Robert Guy Barrows February 18, 1967 21
22
22 "The Confession" Herschel Daugherty William Read Woodfield & Allan Balter February 25, 1967 20
23
23 "Action!" Leonard J. Horn Robert Lewin March 4, 1967 22
24
24 "The Train" Ralph Senensky William Read Woodfield & Allan Balter March 18, 1967 23
25
25 "Shock" Lee H. Katzin Laurence Heath March 25, 1967 24
26
26 "A Cube of Sugar" Joseph Pevney William Read Woodfield & Allan Balter April 1, 1967 25
27
27 "The Traitor" Lee H. Katzin Edward J. Lakso April 15, 1967 26
28
28 "The Psychic" Charles R. Rondeau William Read Woodfield & Allan Balter April 22, 1967 27



Season Two (1967–1968)[edit]
Main article: Mission: Impossible (1966-1973) (season 2)

Series
 #
Episode
 #
Title
Directed by
Written by
Original Airdate
Production
 #[25]

29
1 "The Widow" Lee H. Katzin Barney Slater September 10, 1967 33
30
2 "Trek" Leonard J. Horn Laurence Heath September 17, 1967 29
31
3 "The Survivors" Paul Stanley William Read Woodfield & Allan Balter September 24, 1967 28
32
4 "The Bank" Alf Kjellin Brad Radnitz October 1, 1967 30
33
5 "The Slave: Part 1" Lee H. Katzin William Read Woodfield & Allan Balter October 8, 1967 32A
34
6 "The Slave: Part 2" Lee H. Katzin William Read Woodfield & Allan Balter October 15, 1967 32B
35
7 "Operation Heart" Leonard J. Horn John O'Dea & Arthur Rowe October 22, 1967 31
36
8 "The Money Machine" Paul Stanley Richard M. Sakal October 29, 1967 34
37
9 "The Seal" Alexander Singer William Read Woodfield & Allan Balter November 5, 1967 35
38
10 "Charity" Marc Daniels Barney Slater November 12, 1967 36
39
11 "The Council: Part 1" Paul Stanley William Read Woodfield & Allan Balter November 19, 1967 37A
40
12 "The Council: Part 2" Paul Stanley William Read Woodfield & Allan Balter November 26, 1967 37B
41
13 "The Astrologer" Lee H. Katzin James F. Griffith December 3, 1967 39
42
14 "Echo of Yesterday" Leonard J. Horn Mann Rubin December 10, 1967 38
43
15 "The Photographer" Lee H. Katzin William Read Woodfield & Allan Balter December 17, 1967 40
44
16 "The Spy" Paul Stanley Barney Slater January 7, 1968 41
45
17 "A Game of Chess" Alf Kjellin Richard M. Sakal January 14, 1968 42
46
18 "The Emerald" Michael O'Herlihy William Read Woodfield & Allan Balter January 21, 1968 43
47
19 "The Condemned" Alf Kjellin Laurence Heath January 28, 1968 44
48
20 "The Counterfeiter" Lee H. Katzin William Read Woodfield & Allan Balter February 4, 1968 45
49
21 "The Town" Michael O'Herlihy Sy Salkowitz February 18, 1968 46
50
22 "The Killing" Lee H. Katzin William Read Woodfield & Allan Balter February 28, 1968 47
51
23 "The Phoenix" Robert Totten Teleplay: John D.F. Black
Story: Edward DeBlasio and John D.F. Black March 3, 1968 48
52
24 "Trial by Fury" Leonard J. Horn Sy Salkowitz March 10, 1968 49
53
25 "Recovery" Robert Totten William Read Woodfield & Allan Balter March 17, 1968 50



Season Three (1968–1969)[edit]
Main article: Mission: Impossible (1966-1973) (season 3)

Series
 #
Episode
 #
Title
Directed by
Written by
Original Airdate
Production
 #[25]

54
1 "The Heir Apparent" Alexander Singer Robert E. Thompson September 29, 1968 52
55
2 "The Contender: Part 1" Paul Stanley William Read Woodfield & Allan Balter October 6, 1968 54
56
3 "The Contender: Part 2" Paul Stanley William Read Woodfield & Allan Balter October 13, 1968 55
57
4 "The Mercenaries" Paul Krasny Laurence Heath October 27, 1968 51
58
5 "The Execution" Alexander Singer William Read Woodfield & Allan Balter November 10, 1968 56
59
6 "The Cardinal" Sutton Roley John T. Dugan November 17, 1968 58
60
7 "The Elixir" John Florea Max Hodge November 24, 1968 59
61
8 "The Diplomat" Don Richardson Jerry Ludwig December 1, 1968 53
62
9 "The Play" Lee H. Katzin Lou Shaw December 8, 1968 57
63
10 "The Bargain" Richard Benedict Robert E. Thompson December 15, 1968 61
64
11 "The Freeze" Alexander Singer Paul Playdon December 23, 1968 63
65
12 "The Exchange" Alexander Singer Laurence Heath January 4, 1969 60
66
13 "The Mind of Stefan Miklos" Robert Butler Paul Playdon January 12, 1969 62
67
14 "The Test Case" Sutton Roley Laurence Heath January 19, 1969 64
68
15 "The System" Robert Gist Robert Hamner January 26, 1969 65
69
16 "The Glass Cage" John Moxey Teleplay: Paul Playdon
Story: Alf Harris February 2, 1969 66
70
17 "Doomsday" John Moxey Laurence Heath February 16, 1969 68
71
18 "Live Bait" Stuart Hagmann Teleplay: James D. Buchanan & Ronald Austin and Michael Adams
Story: Michael Adams February 23, 1969 67
72
19 "The Bunker: Part 1" John Moxey Paul Playdon March 2, 1969 69
73
20 "The Bunker: Part 2" John Moxey Paul Playdon March 9, 1969 70
74
21 "Nitro" Bruce Kessler Laurence Heath March 23, 1969 71
75
22 "Nicole" Stuart Hagmann Paul Playdon March 30, 1969 73
76
23 "The Vault" Richard Benedict Teleplay: Judy Burns
Story: Judy Burns and John Kingsbridge April 6, 1969 72
77
24 "Illusion" Gerald Mayer Laurence Heath April 13, 1969 74
78
25 "The Interrogator" Reza S. Badiyi Paul Playdon April 20, 1969 75



Season Four (1969–1970)[edit]
Main article: Mission: Impossible (1966-1973) (season 4)

Series
 #
Episode
 #
Title
Directed by
Written by
Original Airdate
Production
 #[25]

79
1 "The Code" Stuart Hagmann Ken Pettus September 28, 1969 78
80
2 "The Numbers Game" Reza S. Badiyi Leigh Vance October 5, 1969 80
81
3 "The Controllers: Part 1" Paul Krasny Laurence Heath October 12, 1969 76
82
4 "The Controllers: Part 2" Paul Krasny Laurence Heath October 19, 1969 77
83
5 "Fool's Gold" Murray Golden Ken Pettus October 26, 1969 83
84
6 "Commandante" Barry Crane Laurence Heath November 2, 1969 81
85
7 "Submarine" Paul Krasny Donald James November 16, 1969 85
86
8 "Mastermind" Georg Fenady Teleplay: Jerry Ludwig
Story: Jerry Ludwig and Richard Neil Morgan November 23, 1969 79
87
9 "Robot" Reza S. Badiyi Howard Berk November 30, 1969 82
88
10 "The Double Circle" Barry Crane Jerry Ludwig December 7, 1969 84
89
11 "The Brothers" Murray Golden Teleplay: Leigh Vance
Story: Robert C. Dennis December 14, 1969 86
90
12 "Time Bomb" Murray Golden Paul Playdon December 21, 1969 90
91
13 "The Amnesiac" Reza S. Badiyi Teleplay: Robert Malcolm Young and Ken Pettus
Story: Robert Malcolm Young December 28, 1969 91
92
14 "The Falcon: Part 1" Reza S. Badiyi Paul Playdon January 4, 1970 87
93
15 "The Falcon: Part 2" Reza S. Badiyi Paul Playdon January 11, 1970 88
94
16 "The Falcon: Part 3" Reza S. Badiyi Paul Playdon January 18, 1970 89
95
17 "Chico" Herb Wallerstein Ken Pettus January 25, 1970 92
96
18 "Gitano" Barry Crane Laurence Heath February 1, 1970 94
97
19 "Phantoms" Marvin Chomsky Laurence Heath February 8, 1970 95
98
20 "Terror" Marvin Chomsky Laurence Heath February 15, 1970 93
99
21 "Lover's Knot" Reza S. Badiyi Laurence Heath February 22, 1970 96
100
22 "Orpheus" Gerald Mayer Paul Playdon March 1, 1970 97
101
23 "The Crane" Paul Krasny Ken Pettus March 8, 1970 99
102
24 "Death Squad" Barry Crane Laurence Heath March 15, 1970 100
103
25 "The Choice" Allan Greedy Teleplay: Ken Pettus
Story: Henry Sharp March 22, 1970 98
104
26 "The Martyr" Virgil W. Vogel Ken Pettus March 29, 1970 101



Season Five (1970–1971)[edit]
Main article: Mission: Impossible (1966-1973) (season 5)

Series
 #
Episode
 #
Title
Directed by
Written by
Original Airdate
Production
 #[25]

105
1 "The Killer" Paul Krasny Arthur Weiss September 19, 1970 105
106
2 "Flip Side" John Llewellyn Moxey Jackson Gillis September 26, 1970 106
107
3 "The Innocent" John Llewellyn Moxey Teleplay: Marc Norman and Laurence Heath
Story: Marc Norman October 3, 1970 108
108
4 "Homecoming" Reza S. Badiyi Laurence Heath October 10, 1970 103
109
5 "Flight" Barry Crane Teleplay: Harold Livingston
Story: Leigh Vance October 17, 1970 110
110
6 "My Friend, My Enemy" Gerald Mayer Teleplay: Gene R. Kearney
Story: William Wood and Gene R. Kearney October 25, 1970 107
111
7 "Butterfly" Gerald Mayer Teleplay: Eric Bercovici and Jerry Ludwig
Story: Sheldon Stark October 31, 1970 102
112
8 "Decoy" Seymour Robbie John D.F. Black November 7, 1970 109
113
9 "The Amateur" Paul Krasny Ed Adamson November 14, 1970 112
114
10 "Hunted" Terry Becker Helen Hoblock Thompson November 21, 1970 111
115
11 "The Rebel" Barry Crane Teleplay: Ken Pettus
Story: Norman Katkov and Ken Pettus November 28, 1970 104
116
12 "Squeeze Play" Virgil W. Vogel Teleplay: David Moessinger
Story: Walter Brough and David Moessinger December 12, 1970 114
117
13 "The Hostage" Barry Crane Harold Livingston December 19, 1970 117
118
14 "Takeover" Virgil W. Vogel Teleplay: Arthur Weiss
Story: Jerry Thomas and Arthur Weiss January 2, 1971 118
119
15 "Cat's Paw" Virgil W. Vogel Howard Browne January 9, 1971 116
120
16 "The Missile" Charles R. Rondeau Arthur Weiss January 16, 1971 119
121
17 "The Field" Reza S. Badiyi Teleplay: Wesley Lau
Story: Judy Burns and Wesley Lau January 23, 1971 121
122
18 "Blast" Sutton Roley James L. Henderson & Samuel Roeca January 30, 1971 122
123
19 "The Catafalque" Barry Crane Paul Playdon February 6, 1971 113
124
20 "Kitara" Murray Golden Mann Rubin February 20, 1971 120
125
21 "A Ghost Story" Reza S. Badiyi Teleplay: Ed Adamson and Ken Pettus
Story: John D.F. Black and Ed Adamson February 27, 1971 123
126
22 "The Party" Murray Golden Harold Livingston March 6, 1971 124
127
23 "The Merchant" Leon Benson Harold Livingston March 17, 1971 115



Season Six (1971–1972)[edit]
Main article: Mission: Impossible (1966-1973) (season 6)

Series
 #
Episode
 #
Title
Directed by
Written by
Original Airdate
Production
 #[25]

128
1 "Blind" Reza S. Badiyi Arthur Weiss September 18, 1971 126
129
2 "Encore" Paul Krasny Harold Livingston September 25, 1971 125
130
3 "The Tram" Paul Krasny Teleplay: James L. Henderson & Samuel Roeca
Story: Paul Playdon October 2, 1971 131
131
4 "Mindbend" Marvin Chomsky James D. Buchanan & Ronald Austin October 9, 1971 130
132
5 "Shape-Up" Paul Krasny Ed Adamson and Norman Katkov October 16, 1971 133
133
6 "The Miracle" Leonard J. Horn Dan Ullman October 23, 1971 129
134
7 "Encounter" Barry Crane Howard Berk October 30, 1971 132
135
8 "Underwater" Sutton Roley Arthur Weiss November 6, 1971 134
136
9 "Invasion" Leslie H. Martinson James L. Henderson & Samuel Roeca November 13, 1971 137
137
10 "Blues" Reza S. Badiyi Teleplay: Howard Berk
Story: Howard Berk and Orville H. Hampton November 20, 1971 139
138
11 "The Visitors" Reza S. Badiyi Harold Livingston November 27, 1971 135
139
12 "Nerves" Barry Crane Teleplay: Henry Sharp and Garrie Bateson
Story: Henry Sharp December 4, 1971 140
140
13 "Run for the Money" Marvin Chomsky Edward J. Lakso December 11, 1971 128
141
14 "The Connection" Barry Crane Teleplay: Edward J. Lakso and Ken Pettus
Story: Edward J. Lakso December 18, 1971 136
142
15 "The Bride" John Llewellyn Moxey Jackson Gillis January 1, 1972 127
143
16 "Stone Pillow" Leslie H. Martinson Howard Browne January 8, 1972 142
144
17 "Image" Don McDougall Samuel Roeca & James L. Henderson January 15, 1972 138
145
18 "Committed" Reza S. Badiyi Teleplay: Arthur Weiss
Story: Laurence Heath January 22, 1972 141
146
19 "Bag Woman" Paul Krasny Ed Adamson and Norman Katkov January 29, 1972 144
147
20 "Double Dead" Barry Crane Teleplay: Jackson Gillis and Laurence Heath
Story: Jackson Gillis February 12, 1972 143
148
21 "Casino" Reza S. Badiyi Walter Brough and Howard Berk February 19, 1972 145
149
22 "Trapped" Leslie H. Martinson Teleplay: Samuel Roeca & James L. Henderson
Story: Rick Husky February 26, 1972 146



Season Seven (1972–1973)[edit]
Main article: Mission: Impossible (1966-1973) (season 7)

Series
 #
Episode
 #
Title
Directed by
Written by
Original Airdate
Production
 #[25]

150
1 "Break!" Paul Krasny Samuel Roeca & James L. Henderson September 16, 1972 151
151
2 "Two Thousand" Leslie H. Martinson Harold Livingston September 23, 1972 148
152
3 "The Deal" Leslie H. Martinson Teleplay: George F. Slavin and Stephen Kandel
Story: George F. Slavin September 30, 1972 152
153
4 "Leona" Leslie H. Martinson Howard Browne October 7, 1972 150
154
5 "TOD-5" Lewis Allen James D. Buchanan & Ronald Austin October 14, 1972 155
155
6 "Cocaine" Reza S. Badiyi Teleplay: Harold Livingston
Story: Norman Katkov and Harold Livingston October 21, 1972 156
156
7 "Underground" David Lowell Rich Leigh Vance October 28, 1972 149
157
8 "Movie" Terry Becker Teleplay: Anthony Bowers, Arthur Weiss and Stephen Kandel
Story: Anthony Bowers November 4, 1972 159
158
9 "Hit" Reza S. Badiyi Douglas Weir November 11, 1972 158
159
10 "Ultimatum" Barry Crane Teleplay: Harold Livingston
Story: Shirl Hendryx and Harold Livingston November 18, 1972 160
160
11 "Kidnap" Peter Graves Samuel Roeca & James L. Henderson December 2, 1972 161
161
12 "Crack-Up" Sutton Roley Teleplay: Arthur Weiss
Story: Robert & Phyllis White and Arthur Weiss December 9, 1972 154
162
13 "The Puppet" Lewis Allen Leigh Vance December 22, 1972 162
163
14 "Incarnate" Barry Crane Teleplay: Buck Houghton and Stephen Kandel
Story: Buck Houghton January 5, 1973 165
164
15 "Boomerang" Leslie H. Martinson Howard Browne January 12, 1973 164
165
16 "The Question" Leslie H. Martinson Stephen Kandel January 19, 1973 157
166
17 "The Fountain" Barry Crane Stephen Kandel January 26, 1973 163
167
18 "The Fighter" Paul Krasny Teleplay: Stephen Kandel and Nicholas E. Baehr
Story: Orville H. Hampton February 9, 1973 167
168
19 "Speed" Virgil W. Vogel Lou Shaw February 16, 1973 147
169
20 "The Pendulum" Lewis Allen Calvin Clements Jr. February 23, 1973 168
170
21 "The Western" Leslie H. Martinson Arnold & Lois Peyser March 2, 1973 166
171
22 "Imitation" Paul Krasny Edward J. Lakso March 30, 1973 153



Series remake (1988–1990)[edit]
Season One (1988–1989)[edit]
Main article: Mission: Impossible (1988 TV series) (season 1)

Series
 #
Episode
 #
Title
Directed by
Written by
Original Airdate
Production
 #[25]

1
1 "The Killer" Cliff Bole Arthur Weiss October 23, 1988 1
2
2 "The System" Cliff Bole Robert Hamner October 30, 1988 3
3
3 "Holograms" Kim Manners Robert Brennan November 6, 1988 4
4
4 "The Condemned" Cliff Bole Teleplay by: Ted Roberts & Michael Fisher
Story by: John Truman November 20, 1988 5
5
5 "The Legacy" Kim Manners Michael Lynn & Allan Balter November 26, 1988 2
6
6 "The Wall" Colin Budds David Phillips December 11, 1988 6
7
7 "The Cattle King" Mike Vejar Ted Roberts December 18, 1988 7
8
8 "The Pawn" Brian Trenchard-Smith Billy Marshall-Stoneking January 15, 1989 8
9
9 "The Haunting" Mike Vejar Michael Fisher January 28, 1989 9
10
10 "The Lions" Rob Stewart Teleplay by: David Phillips
Story by: James Crown February 4, 1989 10
11
11 "The Greek" Colin Budds Ted Roberts February 11, 1989 11
12
12 "The Fortune" Rod Hardy Robert Brennan February 18, 1989 12
13
13 "The Fixer" Colin Budds Walter Brough February 25, 1989 13
14
14 "Spy" Rob Stewart Michael Fisher March 18, 1989 14
15
15 "The Devils" Arch Nicholson Ted Roberts March 25, 1989 15
16
16 "The Plague" Colin Budds Rick Maier April 8, 1989 16
17
17 "Reprisal" Rob Stewart Walter Brough April 15, 1989 17
18
18 "Submarine" Colin Budds Dale Duguid April 29, 1989 18
19
19 "Bayou" Don Chaffey Jeffrey M. Hayes May 6, 1989 19



Season Two (1989–1990)[edit]
Main article: Mission: Impossible (1988 TV series) (season 2)

Series
 #
Episode
 #
Title
Directed by
Written by
Original Airdate
Production
 #[25][25]

20
1 "The Golden Serpent: Part 1" Don Chaffey Teleplay by: Michael Seims and Ted Roberts & Jeffrey M. Hayes
Story by: Michael Seims September 21, 1989 20
21
2 "The Golden Serpent: Part 2" Don Chaffey Teleplay by: Michael Seims and Ted Roberts & Jeffrey M. Hayes
Story by: Michael Seims September 28, 1989 21
22
3 "The Princess" Colin Budds Ted Roberts October 5, 1989 22
23
4 "Command Performance" Arch Nicholson Robert Brennan October 12, 1989 23
24
5 "Countdown" Brian Trenchard-Smith Chip Hayes October 26, 1989 24
25
6 "War Games" Rod Hardy Walter Brough November 2, 1989 25
26
7 "Target Earth" Colin Budds Stephen Kandel November 9, 1989 26
27
8 "The Fuehrer's Children" Don Chaffey Frank Abatemarco November 16, 1989 27
28
9 "Banshee" Colin Budds Ted Roberts November 30, 1989 28
29
10 "For Art's Sake" Don Chaffey John Whelpley December 14, 1989 29
30
11 "Deadly Harvest" Arch Nicholson Jan Sardi January 6, 1990 30
31
12 "Cargo Cult" Colin Budds Dale Duguid January 13, 1990 31
32
13 "The Assassin" Arch Nicholson Cliff Green January 20, 1990 32
33
14 "The Gunslinger" Colin Budds Teleplay by: Ted Roberts
Story by: Dan Roberts February 3, 1990 33
34
15 "Church Bells in Bogota" Arch Nicholson Frank Abatemarco February 10, 1990 34
35
16 "The Sands of Seth" Colin Budds Jeffrey M. Hayes February 24, 1990 35



References[edit]
1.Jump up ^ Patrick J. White's book, "The Complete Mission: Impossible Dossier", gives an episode count of 168, but lists the two halves of the two-part episodes "Old Man Out", "The Slave", and "The Council" as having one production number. Each count as two one-hour episodes.
2.Jump up ^ "Mission: Impossible: The Complete First TV Season". Amazon.com. Retrieved 5 April 2010.
3.Jump up ^ "Mission: Impossible: The Complete First TV Season". Amazon.co.uk. Retrieved 26 April 2010.
4.Jump up ^ "Mission: Impossible: The Complete First TV Season". DevotedDVD.com.au. Retrieved 26 April 2010.
5.Jump up ^ "Mission: Impossible: The Complete Second Season". Amazon.com. Retrieved 5 April 2010.
6.Jump up ^ "Mission: Impossible: The Complete Second Season". Amazon.co.uk. Retrieved 26 April 2010.
7.Jump up ^ "Mission: Impossible: The Complete Second Season". DevotedDVD.com.au. Retrieved 26 April 2010.
8.Jump up ^ "Mission: Impossible: The Complete Third Season". Amazon.com. Retrieved 5 April 2010.
9.Jump up ^ "Mission: Impossible: The Complete Third Season". Amazon.co.uk. Retrieved 26 April 2010.
10.Jump up ^ "Mission: Impossible: The Complete Third Season". DevotedDVD.com.au. Retrieved 26 April 2010.
11.Jump up ^ "Mission: Impossible: The Complete Fourth Season". Amazon.com. Retrieved 5 April 2010.
12.Jump up ^ "Mission: Impossible: The Complete Fourth Season". Amazon.co.uk. Retrieved 26 April 2010.
13.Jump up ^ "Mission: Impossible: The Complete Fourth Season". DevotedDVD.com.au. Retrieved 26 April 2010.
14.Jump up ^ "Mission: Impossible: The Complete Fifth Season". Amazon.com. Retrieved 5 April 2010.
15.Jump up ^ "Mission: Impossible: The Complete Fifth Season". Amazon.co.uk. Retrieved 26 April 2010.
16.Jump up ^ "Mission: Impossible: The Complete Fifth Season". DevotedDVD.com.au. Retrieved 26 April 2010.
17.Jump up ^ "Mission: Impossible: The Complete Sixth Season". Amazon.com. Retrieved 5 April 2010.
18.Jump up ^ "Mission: Impossible: The Complete Sixth Season". Amazon.co.uk. Retrieved 26 April 2010.
19.Jump up ^ "Mission: Impossible: The Complete Sixth Season". DevotedDVD.com.au. Retrieved 26 April 2010.
20.Jump up ^ "Mission: Impossible: The Final TV Season". Amazon.com. Retrieved 5 April 2010.
21.Jump up ^ "Mission: Impossible: The Final TV Season". Amazon.co.uk. Retrieved 26 April 2010.
22.Jump up ^ "Mission: Impossible: The Final TV Season". DevotedDVD.com.au. Retrieved 26 April 2010.
23.Jump up ^ "Mission: Impossible: The '88 TV Season". Amazon.com. Retrieved 25 November 2011.
24.Jump up ^ "Mission: Impossible: The '89 TV Season". Amazon.com. Retrieved 14 December 2011.
25.^ Jump up to: a b c d e f g h i j White, Patrick J. (1991). The Complete Mission: Impossible Dossier. New York: Avon Books. ISBN 0-380-75877-6.
External links[edit]

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Mission: Impossible (1966–73) (season 1)
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Mission: Impossible (1966-1973) (season 1)

Country of origin
United States
No. of episodes
28
Broadcast

Original channel
CBS
Original run
September 17, 1966 – April 22, 1967
Home video release
DVD release
Region 1
December 5, 2006
Region 2
November 26, 2006
Region 4
November 30, 2006
Season chronology

← Previous
—
Next →
Season 2

List of Mission: Impossible episodes
The first season of the original Mission: Impossible originally aired Saturdays at 9:00-10:00 pm (EST) on CBS from September 17, 1966[1] to January 7, 1967[2] and at 8:30-9:30 pm (EST) from January 14[3] to April 22, 1967.[4]
Episodes[edit]

Series
 #
Episode
 #
Title
Directed by
Written by
Original Airdate
Production
 #[5]

1
1 "Pilot" Bernard L. Kowalski Bruce Geller September 17, 1966 1
In order to remove two nuclear warheads from a Caribbean island (and prevent their imminent use), the Impossible Missions Force (“IMF”) team enters a hotel being used as the headquarters of the island’s dictator so that the team members may gain access to the hotel’s vault where the warheads are being kept. Martin Landau plays the role of the dictator as well as his regular role of Rollin Hand (throughout the first season, Landau does not appear in the opening credits but is credited during the Dossier scene). Wally Cox appears as IMF agent Terry Targo, a skilled safe cracker. The Los Angeles Griffith Park Observatory is used to film the exterior of the hotel. This episode is notable because the mission instructions voiced by Bob Johnson are delivered from a vinyl LP instead of a tape, and it is also the only episode of the series written by creator Bruce Geller. 
2
2 "Memory" Charles R. Rondeau Robert Lewin September 24, 1966 3
An IMF agent with a photographic memory (Albert Paulsen) allows himself to be captured and subjected to a harsh interrogation to help destroy a politically connected mass murderer. This is the only "regular-format" episode in which the IMF does not receive its mission instructions from a recording during the Tape scene) and, as such, the voice of Bob Johnson is not heard; instead, IMF team leader Dan Briggs is handed a card with printed instructions. 
3
3 "Operation Rogosh" Leonard J. Horn Jerome Ross October 1, 1966 4
When an unbreakable foreign agent (Fritz Weaver) known as “The Murderer” who specializes in mass murder is discovered in Los Angeles, the IMF team needs to break him (only to discover a planned biological attack on Los Angeles area water system). The team must trick him into revealing the location of his biological devices by convincing him that it is three years into the future, he is back in his own country, and he is on trial for being an American spy. This is the first episode in which the Apartment scene is not used in the opening act. 
4
4 "Old Man Out: Part 1" Charles R. Rondeau Ellis Marcus October 8, 1966 2A
With the rest of IMF team posing as a traveling circus performing in a city park next to an impregnable prison, Rollin allows himself to be imprisoned to rescue physically infirm Catholic Cardinal Vossek (Cyril Delevanti), the leader of a country’s freedom movement who was arrested and held in the prison for interrogation (and then scheduled for execution). Vosseck is overtly based upon Cardinal Cardinal József Mindszenty and his high-profile imprisonment by a totalitarian government in the Eastern Bloc. Mary Ann Mobley appears as IMF agent Crystal Walker. 
5
5 "Old Man Out: Part 2" Charles R. Rondeau Ellis Marcus October 15, 1966 2B
Continuation of the previous episode. The team's rescue plan hit a snag at the end of the previous episode when Cardinal Vossek was transferred to another cell. 
6
6 "Odds on Evil" Charles R. Rondeau William Read Woodfield & Allan Balter October 22, 1966 5
In order to prevent an arms delivery to the prince (Nehemiah Persoff) of a principality by an arms dealer (Lawrence Montaigne) and to make sure that he cannot buy more (so that he is prevented from attacking an oil-rich, neighboring state), the IMF team enters a casino, utilizes a wearable computer to predict the winning number in a game of roulette (with the winning number being displayed as the date on an analog watch), and rigs a game of baccarat through the use of marked cards and special contact lenses. Nico Minardos appears as IMF agent Andre Malif. This episode has similarities with Ian Fleming's Casino Royale. 
7
7 "Wheels" Tom Gries Laurence Heath October 29, 1966 8
In order to unfix the election result in a foreign country (and prevent the police-controlled Nationalist party from establishing a terrorist dictatorship), the IMF team enters a police station being used as both a polling place and the headquarters of the party so that Barney Collier may gain access to the station’s backroom where the fixed voting machines rigged with three “zero” wheels are being kept. Landau plays a proprietor of a bookstore as well as his regular role of Rollin. Mark Lenard appears as the party’s unscrupulous candidate. 
8
8 "The Ransom" Harry Harris William Read Woodfield & Allan Balter November 5, 1966 9
When a friend's daughter is kidnapped by a crime boss and held as ransom for the exchange of an informant held in protective custody, Briggs calls in the IMF team to rescue her. This is the first episode in which the Tape scene is not used to provide mission instructions; instead, the mission is developed by the team as an "off-book" mission (and the only one led by Briggs). Also, this is the first instance in which the team confronts members of a domestic criminal organization. 
9
9 "A Spool There Was" Bernard L. Kowalski Ellis Marcus November 12, 1966 6
Rollin and Cinnamon Carter pose as reunited ex-lovers in an unfriendly country in order to retrieve a spool of recording wire hidden by an agent killed while evading capture. Neither Barney nor Willy Armitage appears in this episode. Michael Shea appears as Pieter Stakovar. 
10
10 "The Carriers" Sherman Marks William Read Woodfield & Allan Balter November 19, 1966 13
In order to stop an expert in American traditions, slang, and customs (Arthur Hill) from conducting his plan of bacteriology warfare against the U.S. and to put him permanently out of business, the IMF team infiltrates a mock-up of an American town located behind the Iron Curtain where enemy agents learn to act as Americans. George Takei appears as IMF agent Roger Lee. The theme of using a mock-up of a town for training enemy agents was employed previously in the second-season episode "Colony Three" (S02/E03) of Danger Man and later in the fourth-season episode “Welcome to Liberty Village" (S04/E05) of Alias. Also, this episode has similarities with Ian Fleming's novel On Her Majesty's Secret Service. 
11
11 "Zubrovnik's Ghost" Leonard J. Horn Robert Lewin November 26, 1966 11
In this "haunted house" episode, a scientist (Beatrice Straight) is being asked to defect by the ghost of her late husband. In order to keep her from going behind the Iron Curtain and to get her working for the IMF again, Rollin, Barney, and IMF agent Ariana Domi (Martine Bartlett) pose as a psychic research team, countering the efforts of a medium (Donald Davis) who is pressuring her to work from behind the Iron Curtain. Neither Cinnamon nor Willy appears in this episode. The laboratory set (including the hallway and elevator) from "The Carriers" (the previous episode) is featured in the Tape scene of this episode. 
12
12 "Fakeout" Bernard L. Kowalski Leigh Chapman December 3, 1966 7
With an ill-mannered leader of an international narcotics syndicate (Lloyd Bridges) living in a country that has no extradition treaty with the U.S., Cinnamon romances him in order to get him out of the country so that he can be legally arrested and stand trial in the U.S. (kidnapping him has been ruled out as being politically embarrassing). Neither Rollin nor Willie appears in this episode. 
13
13 "Elena" Marc Daniels Ellis Marcus December 10, 1966 10
When a woman named Elena (Barbara Luna) acting as a key agent of the IMF begins to behave in a bizarre manner indicating a severe emotional disturbance, Rollin and a psychiatrist (Barry Atwater) need to find out in six days why she is behaving so strongly and decide whether she will continue to be a dangerous threat to the IMF; if not, she will be killed. Neither Cinnamon, Barney, nor Willy appear in this episode, making it the only episode of the entire series in which none of the series regulars featured in the opening credits are chosen by the IMF team leader for the mission during the Dossier scene. The laboratory set (including the hallway and elevator) from "The Carriers" (S01/E10) is featured in this episode. 
14
14 "The Short Tail Spy" Leonard J. Horn Julian Barry December 17, 1966 14
Two feuding assassins of different ages representing two groups of an enemy country are focused on assassinating a professor who recently defected to the U.S. In order to prevent the assassinations and totally discredit the younger assassin and the group for whom he represents, Cinnamon feigns her love for the younger assassin (Eric Braeden), Dan works to move the older assassin (Albert Dekker) out of the way, and Barney protects the professor (Edward Colmans). Neither Rollin nor Willie appears in this episode. 
15
15 "The Legacy" Michael O'Herlihy William Read Woodfield & Allan Balter January 7, 1967 15
In this "treasure hunt" episode, sons of Adolf Hitler's most trusted Nazi officers gather in Zurich, Switzerland, to locate Hitler's "personal fortune" believed to be worth more than $300 million. Rollin infiltrates the group in order to get the money before they do (and prevent them from launching the Fourth Reich). This episode was remade as “The Legacy“ (S01/E05) in the series remake (wherein "sons" was changed to "grandsons"). There are three other episodes of the original series that have been remade for the series remake: "The Condemned" (S02/E19 & S01/E04), "The System" (S03/E15 & S01/E02), and "The Killer" (S05/E01 & S01/E01). This is also the only episode of either incarnation in which the villain escapes at the end. 
16
16 "The Reluctant Dragon" Leonard J. Horn Chester Krumholz January 14, 1967 16
An expert in rocket control (Joseph Campanella) working from behind the Iron Curtain was supposed to follow his wife (Mala Powers) in defecting to the U.S. a year earlier, but he was reluctant in leaving. Now that he has made a simple but extremely effective anti-ballistic missile system that could completely destroy the balance of power in the world if it were to fall into the wrong hands, Rollin poses as a police deputy commissioner of East Germany in order to get him out before his government discovers what he has achieved. John Colicos appears as the head of security who is suspicious of the expert. Neither Cinnamon nor Willie appears in this episode. 
17
17 "The Frame" Allen Miner William Read Woodfield & Allan Balter January 21, 1967 17
When four elected officials are killed in “accidents” and replaced with persons favorably disposed toward organized crime, Dan and Rollin pose as caterers for a lavish get-together at the home of the U.S. syndicate boss (Simon Oakland) in order to stop him from expanding into government. Arthur Batanides appears as IMF agent known as Tino. 
18
18 "The Trial" Lewis Allan Laurence Heath January 28, 1967 12
Dan allows himself to be arrested, charged, and subjected to a show trial as a would-be saboteur in order to stop and discredit a public prosecutor and the head of the secret police (Carroll O'Connor) so that he will never be a political threat or threaten international peace. Neither Cinnamon nor Barney appears in this episode. 
19
19 "The Diamond" Robert Douglas William Read Woodfield & Allan Balter February 4, 1967 18
When the despotic prime minister of a white-supremacist West African regime attempts to sell the world's largest uncut diamond in order to finance a campaign driving the native majority off their tribal trust lands, the IM Force is sent to destroy him. 
20
20 "The Legend" Richard Benedict Mann Rubin February 11, 1967 19
Briggs and Cinammon impersonate a former Nazi and his daughter who are invited to attend a reunion of aged Nazi leaders at the home of Nazi fugitive Martin Bormann, who is planning the creation of the Fourth Reich. This episode shares many similarities with Alfred Hitchcock's Notorious. 
21
21 "Snowball in Hell" Lee H. Katzin Judith & Robert Guy Barrows February 18, 1967 21
The IMF must recover or destroy a vital component for a nuclear weapon that is in the hands of an evil prison warden (Ricardo Montalbán), and make sure that the warden does not give the formula to anyone else. 
22
22 "The Confession" Herschel Daugherty William Read Woodfield & Allan Balter February 25, 1967 20
When the assassination of a U.S. senator by a Communist bloc agent threatens to lead to war between America and the Communist Bloc, Briggs and the IMF set out to prove the killing was actually orchestrated by the senator's principal backer. 
23
23 "Action!" Leonard J. Horn Robert Lewin March 4, 1967 22
An Eastern European filmmaker plans to release a film he created to falsely allege an American war crime in Vietnam; the IMF must prove the film to be a fake. Cinnamon Carter receives the recorded instructions in this episode, the only time in the show's history that someone other than Dan Briggs or Jim Phelps ever received the briefing. The character of Dan Briggs does not appear in the episode. 
24
24 "The Train" Ralph Senensky William Read Woodfield & Allan Balter March 18, 1967 23
The IMF team must simulate a train ride carrying a dying prime minister to a Swiss hospital, to convince the leader that his chosen successor would become an oppressive dictator upon his ascension. Beginning with this episode, appearances by Steven Hill as Dan Briggs were scaled back in preparation for his departure from the series. 
25
25 "Shock" Lee H. Katzin Laurence Heath March 25, 1967 24
When an American envoy is kidnapped and replaced by a disguised agent planning to assassinate a U.S. diplomat, the IMF must stop the assassination and elicit the whereabouts of the real envoy out of the enemy agent. The envoy, the imposter and a disguised Dan Briggs are all played by James Daly, allowing Steven Hill to be absent for most of this episode. 
26
26 "A Cube of Sugar" Joseph Pevney William Read Woodfield & Allan Balter April 1, 1967 25
The IMF meets drug culture as Rollin and Cinammon infiltrate a prison to recover a kidnapped agent as well as a microchip hidden within an LSD-laced sugar cube. 
27
27 "The Traitor" Lee H. Katzin Edward J. Lakso April 15, 1967 26
Eartha Kitt guest stars as a contortionist recruited by Briggs to help discredit an agent who has defected to the enemy. 
28
28 "The Psychic" Charles R. Rondeau William Read Woodfield & Allan Balter April 22, 1967 27
Cinnamon poses as a psychic to convince a tycoon that his life is in danger, leading to a high-stakes poker game against Rollin. This is the final episode in which Steven Hill appears as Dan Briggs. 



References[edit]
1.Jump up ^ TV Listings for September 17, 1966
2.Jump up ^ TV Listings for January 7, 1967
3.Jump up ^ TV Listings for January 14, 1967
4.Jump up ^ TV Listings for April 22, 1967
5.Jump up ^ White, Patrick J. (1991). The Complete Mission: Impossible Dossier. New York: Avon Books. ISBN 0-380-75877-6.


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Mission: Impossible


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Films
Mission: Impossible (soundtrack) (1996) ·
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 score) (2000) ·
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 Mission: Impossible – Ghost Protocol (2011)
 

Characters
Ethan Hunt ·
 Luther Stickell
 

Video games
Mission: Impossible (1990) ·
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Mission: Impossible (1966–73) (season 2)
From Wikipedia, the free encyclopedia
  (Redirected from Mission: Impossible (1966-1973) (season 2))
Jump to: navigation, search


Mission: Impossible (1966-1973) (season 2)

Country of origin
United States
No. of episodes
25
Broadcast

Original channel
CBS
Original run
September 10, 1967 – March 17, 1968
Home video release
DVD release
Region 1
June 5, 2007
Region 2
May 7, 2006
Region 4
April 12, 2007
Season chronology

← Previous
Season 1
Next →
Season 3

List of Mission: Impossible episodes
The second season of the original Mission: Impossible originally aired Sundays at 10:00-11:00 pm (EST) on CBS from September 10, 1967[1] to March 17, 1968.[2]
Episodes[edit]

Series
 #
Episode
 #
Title
Directed by
Written by
Original Airdate
Production
 #[3]

29
1 "The Widow" Lee H. Katzin Barney Slater September 10, 1967 33
First episode to feature Peter Graves as Jim Phelps. The IMF capture a heroin distributor and Cinnamon goes undercover as his "widow" in order to shut down part of "the Syndicate." 
30
2 "Trek" Leonard J. Horn Laurence Heath September 17, 1967 29
The IMF team must recover some Incan gold artifacts, but their mission is further complicated when the one man who can lead them to the stolen artifacts goes blind. 
31
3 "The Survivors" Paul Stanley William Read Woodfield & Allan Balter September 24, 1967 28
The IMF team must rescue two top-secret government scientists and their wives who have been working on a revolutionary new weapon, Project 12. First production to feature Peter Graves as Jim Phelps. 
32
4 "The Bank" Alf Kjellin Brad Radnitz October 1, 1967 30
The head of a bank in the East Zone (James Daly) murders would-be defectors after being entrusted with their money, and the IMF must eliminate him before he can use the embezzled money to launch a new Nazi movement. 
33
5 "The Slave: Part 1" Lee H. Katzin William Read Woodfield & Allan Balter October 8, 1967 32A
Unbeknownst to his brother, the king of a near-eastern nation is secretly practicing slavery, and the IMF team must put a stop to it. Part of the IMF's plan is to unleash a cloud of bats inside the prince's bedroom, a scene reminiscent of Alfred Hitchcock's The Birds. 
34
6 "The Slave: Part 2" Lee H. Katzin William Read Woodfield & Allan Balter October 15, 1967 32B
Continuation of the previous episode. The IMF implicate the king in the slave trade by arranging to have the king's brother discover his kidnapped wife, an English woman, being bid on in a slave auction underneath the king's palace. 
35
7 "Operation Heart" Leonard J. Horn John O'Dea & Arthur Rowe October 22, 1967 31
When an innocent American archaeologist becomes entangled in a plot to assassinate the president of a South American nation (Pernell Roberts), the IMF must rescue the seriously ill American and prevent the president being killed by his chief of security. 
36
8 "The Money Machine" Paul Stanley Richard M. Sakal October 29, 1967 34
An African financier (Brock Peters) is printing counterfeit currency that could destroy his nation's economy. The IMF must put him out of business and recover the stolen printing plates he is using to make the counterfeits. 
37
9 "The Seal" Alexander Singer William Read Woodfield & Allan Balter November 5, 1967 35
A stolen jade statuette is sacred to a small Asian country, and in order to prevent an international incident the IMF must recover it from the private high-security collection of a wealthy American defense contractor (Darren McGavin) by using a specially trained cat named Rusty. 
38
10 "Charity" Marc Daniels Barney Slater November 12, 1967 36
In order to recover millions of dollars (in the form of platinum bars) stolen from the needy by a married couple (Fritz Weaver, Hazel Court) and to put a stop their charity racket for good, the IMF team goes to the couple’s estate on the French/Italian border where a group of millionaires have been invited for the collection of $1 million supposedly to build a new hospital wing. The Wayne Manor set from the 1960s TV series Batman is featured in this episode and for the first time in the series. It will be featured again in the fourth season episode "The Numbers Game" (S04/E02). 
39
11 "The Council: Part 1" Paul Stanley William Read Woodfield & Allan Balter November 19, 1967 37A
By taking over honest businesses, a criminal enterprise headed by Frank Wayne (Paul Stevens) is corrupting the nation’s economy by depositing millions of dollars into Swiss bank accounts, causing an intolerable drain of U.S. gold reserves. In order to get the syndicate’s records, turn them over to the proper authorities, and put an end to the organization, Rollin poses as Wayne, and Phelps poses as an ambitious prosecutor. 
40
12 "The Council: Part 2" Paul Stanley William Read Woodfield & Allan Balter November 26, 1967 37B
Continuation of the previous episode. This two-part story was released theatrically outside the US as Mission: Impossible vs. the Mob.[4] 
41
13 "The Astrologer" Lee H. Katzin James F. Griffith December 3, 1967 39
When the exiled leader of a country was seized by the head of the secret police, he possessed microfilm containing the names of officials and citizens who support him which, if returned to the country, would result in their murder and kill their chance of liberation. In order to rescue him and ensure the microfilm does not return to the country, Cinnamon poses as an astrologer, and Barney and Rollin secretly board an aircraft transporting the leader and perform an in-flight rescue operation through the cargo compartment of the aircraft. 
42
14 "Echo of Yesterday" Leonard J. Horn Mann Rubin December 10, 1967 38
The head of Europe’s munitions plant (Wilfrid Hyde-White) is planning to turn over complete control of his vast industrial empire to the leader of a resurging neo-Nazi group (Eric Braeden). In order to stop them, Jim poses as an American Nazi, and Cinnamon poses as a photographer resembling the industrial leader’s former wife to re-awaken old memories of her murder committed by Adolf Hitler. 
43
15 "The Photographer" Lee H. Katzin William Read Woodfield & Allan Balter December 17, 1967 40
The IMF must break the enemy's encryption code to prevent a pneumonic plague release in the United States. This was the final episode produced under the Desilu banner. 
44
16 "The Spy" Paul Stanley Barney Slater January 7, 1968 41
A map of NATO's missile defense system must be duplicated in order to fool a female spy. This was the first episode produced for Paramount after the sale of Desilu to Gulf+Western. 
45
17 "A Game of Chess" Alf Kjellin Richard M. Sakal January 14, 1968 42
A gold shipment, sent to fund an anti-communist resistance movement, has been seized by the country's government and the IMF must get it to its intended recipients, but an international chess champion and con artist is also after the gold. 
46
18 "The Emerald" Michael O'Herlihy William Read Woodfield & Allan Balter January 21, 1968 43
Microfilm detailing an enemy plot is affixed to an emerald in the possession of a notorious arms dealer; the IMF must obtain the microfilm and eliminate the enemy agent who has been sent to buy the gem. 
47
19 "The Condemned" Alf Kjellin Laurence Heath January 28, 1968 44
When a childhood friend of Phelps' is sentenced to death in Latin America, the IMF go "off-book" to save him. This episode has no tape scene or dossier scene, and Cinnamon Carter (Barbara Bain) does not appear, nor is she mentioned. This episode was remade as “The Condemned“ (S01/E04) in the series remake. 
48
20 "The Counterfeiter" Lee H. Katzin William Read Woodfield & Allan Balter February 4, 1968 45
The IMF must arrange the arrest of the owner (Edmond O'Brien) of a chain of medical clinics who is distributing counterfeit pharmaceuticals. 
49
21 "The Town" Michael O'Herlihy Sy Salkowitz February 18, 1968 46
In an "off-book" mission, Phelps accidentally discovers that a small town is filled with enemy sleeper agents; he is drugged and declared paralyzed by a stroke, but Rollin smells a rat. Will Geer guest stars. 
50
22 "The Killing" Lee H. Katzin William Read Woodfield & Allan Balter February 28, 1968 47
Conventional law-enforcement methods cannot stop a criminal mastermind, but his superstitions may be his undoing. 
51
23 "The Phoenix" Robert Totten Teleplay: John D.F. Black
Story: Edward DeBlasio and John D.F. Black March 3, 1968 48
A museum curator (Alf Kjellin) must be prevented from giving an experimental alloy to a foreign power. 
52
24 "Trial by Fury" Leonard J. Horn Sy Salkowitz March 10, 1968 49
The IMF must save a Latin American political prisoner who is falsely accused of being an informant by other prisoners while being held in isolation in his totalitarian country's prison camp. 
53
25 "Recovery" Robert Totten William Read Woodfield & Allan Balter March 17, 1968 50
When U.S. bomber crashes behind the Iron Curtain, the IMF must recover its fail-safe before a brilliant U.S. defector (Bradford Dillman, who previously starred in Court Martial alongside Peter Graves) can reveal its secrets to the communists. 



References[edit]
1.Jump up ^ TV Listings for September 10, 1967
2.Jump up ^ TV Listings for March 17, 1968
3.Jump up ^ White, Patrick J. (1991). The Complete Mission: Impossible Dossier. New York: Avon Books. ISBN 0-380-75877-6.
4.Jump up ^ Mission: Impossible vs. The Mob at the Internet Movie Database


[hide]
v ·
 t ·
 e
 
Mission: Impossible


Television
Mission: Impossible (1966–1973) ·
 Mission: Impossible (1988–1990) ·
 Episodes ·
 Guest stars  (A–M ·
 N–Z)
 
 

Films
Mission: Impossible (soundtrack) (1996) ·
 Mission: Impossible II (soundtrack ·
 score) (2000) ·
 Mission: Impossible III (score) (2006) ·
 Mission: Impossible – Ghost Protocol (2011)
 

Characters
Ethan Hunt ·
 Luther Stickell
 

Video games
Mission: Impossible (1990) ·
 Mission: Impossible (1998) ·
 Mission: Impossible (2000) ·
 Mission: Impossible – Operation Surma (2003)
 

Miscellaneous
Impossible Missions Force ·
 Theme
 

 


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Mission: Impossible


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Mission: Impossible (1966–73) (season 3)
From Wikipedia, the free encyclopedia
  (Redirected from Mission: Impossible (1966-1973) (season 3))
Jump to: navigation, search


Mission: Impossible (1966-1973) (season 3)

Country of origin
United States
No. of episodes
25
Broadcast

Original channel
CBS
Original run
September 29, 1968 – April 20, 1969
Home video release
DVD release
Region 1
November 20, 2007
Region 2
November 20, 2007
Region 4
October 29, 2007
Season chronology

← Previous
Season 2
Next →
Season 4

List of Mission: Impossible episodes
The third season of the original Mission: Impossible originally aired Sundays at 10:00-11:00 pm (EST) on CBS from September 29, 1968[1] to April 20, 1969.[2]
Episodes[edit]

Series
 #
Episode
 #
Title
Directed by
Written by
Original Airdate
Production
 #[3]

54
1 "The Heir Apparent" Alexander Singer Robert E. Thompson September 29, 1968 52
Cinnamon impersonates a lost princess to foil the planned coup of a would-be military dictator (Charles Aidman). 
55
2 "The Contender: Part 1" Paul Stanley William Read Woodfield & Allan Balter October 6, 1968 54
Barney impersonates a boxer to prevent gangsters (Ron Randell, John Dehner) from corrupting U.S. sports. Sugar Ray Robinson guest stars as a gangster's henchman; Robert Conrad has a cameo as Barney's sparring partner. The IMF will return to the boxing ring in the seventh season episode "The Fighter" (S07/E17). 
56
3 "The Contender: Part 2" Paul Stanley William Read Woodfield & Allan Balter October 13, 1968 55
The conclusion of the previous episode. 
57
4 "The Mercenaries" Paul Krasny Laurence Heath October 27, 1968 51
The IMF travel to Africa to stop a gold-hungry mercenary (Pernell Roberts) and end his reign of terror. 
58
5 "The Execution" Alexander Singer William Read Woodfield & Allan Balter November 10, 1968 56
To stop a brutal racketeer (Vincent Gardenia) from controlling the U.S. grocery industry, the IMF must convince his hitman to turn state's evidence. 
59
6 "The Cardinal" Sutton Roley John T. Dugan November 17, 1968 58
To secure power, a general replaces a country's beloved cardinal with a lookalike; the team devises a plan to switch them back. 
60
7 "The Elixir" John Florea Max Hodge November 24, 1968 59
In South America, the IMF must prevent a vain, Evita-like matriarch (Ruth Roman) from seizing power in a coup. 
61
8 "The Diplomat" Don Richardson Jerry Ludwig December 1, 1968 53
The IMF must discredit an enemy diplomat (Fernando Lamas) who is supplying a foreign power with the locations of U.S. missile control centers. 
62
9 "The Play" Lee H. Katzin Lou Shaw December 8, 1968 57
The IMF must discredit a foreign minister of culture whose influence prevents his premier from establishing a non-aggression pact with the United States. 
63
10 "The Bargain" Richard Benedict Robert E. Thompson December 15, 1968 61
In Miami, "the Syndicate" must be prevented from funding an exiled dictator's (Albert Paulsen) plan to launch a counter-revolution. 
64
11 "The Freeze" Alexander Singer Paul Playdon December 23, 1968 63
A bank robber (Donnelly Rhodes) plans to wait in prison on a lesser charge until the statute of limitations expires on his theft; the IMF must convince him to retrieve the loot early, before his double-crossed partners get wind of the con. 
65
12 "The Exchange" Alexander Singer Laurence Heath January 4, 1969 60
Cinnamon is captured behind the Iron Curtain, and Phelps must kidnap, break, and trade an enemy agent before she breaks. This is the first episode which begins in medias res, showing the IMF team in the middle of an ongoing mission before Carter is captured and imprisoned. 
66
13 "The Mind of Stefan Miklos" Robert Butler Paul Playdon January 12, 1969 62
A double agent within U.S. intelligence is being fed false information, but his suspicious handler (Edward Asner) asks for a security check. Miklos (Steve Ihnat), an enemy mastermind, is sent to investigate and the IMF must convince him that the information is true and the handler is the traitor. 
67
14 "The Test Case" Sutton Roley Laurence Heath January 19, 1969 64
A "hired gun" bacteriologist is developing a deadly but short-lived virus for the Warsaw Pact; the IMF must eliminate him and his virus. 
68
15 "The System" Robert Gist Robert Hamner January 26, 1969 65
When a crime boss escapes justice the IMF must trick an underling operating a crooked casino into turning state's evidence. This episode was remade as “The System“ (S01/E02) in the series remake. 
69
16 "The Glass Cage" John Moxey Teleplay: Paul Playdon
Story: Alf Harris February 2, 1969 66
Barney and Willy get arrested in an Eastern Bloc nation to fake the escape of a resistance leader, who is in an escape-proof cell. 
70
17 "Doomsday" John Moxey Laurence Heath February 16, 1969 68
When a nearly bankrupt European industrialist (Alf Kjellin) tries to recover his fortune by selling a nuclear bomb to the highest bidder, the IMF must keep the weapon out of the hands of third-world nations. 
71
18 "Live Bait" Stuart Hagmann Teleplay: James D. Buchanan & Ronald Austin and Michael Adams
Story: Michael Adams February 23, 1969 67
An enemy internal security chief (Anthony Zerbe) uses his own assistant (Martin Sheen) in the hope of out-foxing the IMF and exposing a high-ranking American agent. 
72
19 "The Bunker: Part 1" John Moxey Paul Playdon March 2, 1969 69
Imprisoned underground in an Eastern European nation, a brilliant scientist is being forced to develop a deadly missile. 
73
20 "The Bunker: Part 2" John Moxey Paul Playdon March 9, 1969 70
In the conclusion of the previous episode, the IMF must rescue the scientist (Milton Selzer) and his wife (Lee Meriwether) before another nation's master of disguise can assassinate him. 
74
21 "Nitro" Bruce Kessler Laurence Heath March 23, 1969 71
A near-eastern ultra-nationalist assigns a demolitions expert (Mark Lenard) to kill his nation's leadership so a peace treaty can be replaced with a declaration of war. The IMF must act in time. 
75
22 "Nicole" Stuart Hagmann Paul Playdon March 30, 1969 73
Phelps, shot and captured during exfiltration, is joined by an attractive double agent (Joan Collins) - but whose side is she really on? (Unusual for a non-season 1 episode, only two regular IMF members - Phelps and Rollin - appear.) 
76
23 "The Vault" Richard Benedict Teleplay: Judy Burns
Story: Judy Burns and John Kingsbridge April 6, 1969 72
Coup plotters (Nehemiah Persoff, Jerry Riggio) have looted a treasury to unseat a South American president (Rodolfo Acosta). 
77
24 "Illusion" Gerald Mayer Laurence Heath April 13, 1969 74
The IMF must eliminate two of the three contenders for chief of secret police in an eastern European nation. 
78
25 "The Interrogator" Reza S. Badiyi Paul Playdon April 20, 1969 75
An enemy officer (Henry Silva) knows a deadly secret, but is under interrogation in another hostile nation. This is the final episode to feature Martin Landau as Rollin Hand and Barbara Bain as Cinnamon Carter. 



References[edit]
1.Jump up ^ TV Listings for September 29, 1968
2.Jump up ^ TV Listings for April 20, 1969
3.Jump up ^ White, Patrick J. (1991). The Complete Mission: Impossible Dossier. New York: Avon Books. ISBN 0-380-75877-6.


[hide]
v ·
 t ·
 e
 
Mission: Impossible


Television
Mission: Impossible (1966–1973) ·
 Mission: Impossible (1988–1990) ·
 Episodes ·
 Guest stars  (A–M ·
 N–Z)
 
 

Films
Mission: Impossible (soundtrack) (1996) ·
 Mission: Impossible II (soundtrack ·
 score) (2000) ·
 Mission: Impossible III (score) (2006) ·
 Mission: Impossible – Ghost Protocol (2011)
 

Characters
Ethan Hunt ·
 Luther Stickell
 

Video games
Mission: Impossible (1990) ·
 Mission: Impossible (1998) ·
 Mission: Impossible (2000) ·
 Mission: Impossible – Operation Surma (2003)
 

Miscellaneous
Impossible Missions Force ·
 Theme
 

 


Categories: Mission: Impossible seasons
Mission: Impossible


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Mission: Impossible (1966–73) (season 4)
From Wikipedia, the free encyclopedia
  (Redirected from Mission: Impossible (1966-1973) (season 4))
Jump to: navigation, search


Mission: Impossible (1966-1973) (season 4)

Country of origin
United States
No. of episodes
26
Broadcast

Original channel
CBS
Original run
September 28, 1969 – March 29, 1970
Home video release
DVD release
Region 1
May 13, 2008
Region 2
May 5, 2008
Region 4
May 15, 2008
Season chronology

← Previous
Season 3
Next →
Season 5

List of Mission: Impossible episodes
The fourth season of the original Mission: Impossible originally aired Sundays at 10:00-11:00 pm (EST) on CBS from September 28, 1969[1] to March 29, 1970.[2]
Episodes[edit]

Series
 #
Episode
 #
Title
Directed by
Written by
Original Airdate
Production
 #[3]

79
1 "The Code" Stuart Hagmann Ken Pettus September 28, 1969 78
In order to stop an invasion and shatter an alliance between two countries, the IMF team must photograph and break a code in a matter of minutes, by mounting a chosen-plaintext attack. First appearance of Leonard Nimoy as Paris. For this season, the series does not replace Cinnamon Carter with a regular female lead, but uses a succession of guest stars. 
80
2 "The Numbers Game" Reza S. Badiyi Leigh Vance October 5, 1969 80
The IMF team tries to get a deposed dictator to divulge his Swiss bank account number by making him believe World War III is about to begin. The Wayne Manor set from the 1960s TV series Batman is featured in this episode and for the second time in the series. It was previously featured in the second season episode "Charity" (S02/E10). 
81
3 "The Controllers: Part 1" Paul Krasny Laurence Heath October 12, 1969 76
Jim and a female agent pose as scientist who claim to have invented a new, more efficient drug which turns people into willing slaves. Their objective is to replace the real drug with a placebo. 
82
4 "The Controllers: Part 2" Paul Krasny Laurence Heath October 19, 1969 77
Continuation of previous episode. 
83
5 "Fool's Gold" Murray Golden Ken Pettus October 26, 1969 83
Paris poses as a counterfeiter in order to get access to and destroy a safe containing 100 million drona worth of counterfeit money as well as the plates used to make it. If the counterfeit money is released then that nation's gold reserves will be depleted and the pro-Western government will be overthrown in a revolution. 
84
6 "Commandante" Barry Crane Laurence Heath November 2, 1969 81
Jim and Willy pose as U. S. religious workers who are willing to trade guns in exchange for the life of an imprisoned priest who is about to be executed. 
85
7 "Submarine" Paul Krasny Donald James November 16, 1969 85
An fanatic ex-SS officer plans to fund neo-Nazis with stolen money upon his release as a prisoner. The IMF team simulates a submarine journey to trick him into divulging his Swiss bank account number. In addition to being the only person to write for both Mission: Impossible and Joe 90, this was veteran British television writer Donald James' only script for the series (and his only work for American television). 
86
8 "Mastermind" Georg Fenady Teleplay: Jerry Ludwig
Story: Jerry Ludwig and Richard Neil Morgan November 23, 1969 79
Paris convinces a mob figure that he can read the mind of his double-crossing boss, while Barney attempts to steal an incriminating file from the boss' safe. 
87
9 "Robot" Reza S. Badiyi Howard Berk November 30, 1969 82
A country is unaware that its premier is long dead and has been replaced by a double (both played by Leonard Nimoy) who is about to name a successor. 
88
10 "The Double Circle" Barry Crane Jerry Ludwig December 7, 1969 84
An art lover is made to believe he can own a priceless Buddha statue. In the meantime the IMF team tries to retrieve a formula by breaking into his impenetrable safe. 
89
11 "The Brothers" Murray Golden Teleplay: Leigh Vance
Story: Robert C. Dennis December 14, 1969 86
A Middle Eastern king needs to be restored to the throne. So the IMF team simulates a kidney transplantation during which he seemingly will donate his kidney to his murderous brother. 
90
12 "Time Bomb" Murray Golden Paul Playdon December 21, 1969 90
The IMF team must stop a terminally ill renegade Allied agent from detonating an atomic bomb in an enemy capital. 
91
13 "The Amnesiac" Reza S. Badiyi Teleplay: Robert Malcolm Young and Ken Pettus
Story: Robert Malcolm Young December 28, 1969 91
A stolen isotope could make atomic weapons affordable to every country in the world. Paris poses as an amnesia victim to retrieve the stolen isotope. 
92
14 "The Falcon: Part 1" Reza S. Badiyi Paul Playdon January 4, 1970 87
The IMF team must stop an arranged wedding between the king (Noel Harrison)'s sister Francesca (Diane Baker) and a ruthless usurper to the throne (John Vernon), and rescue the king, Francesca and the man she truly loves. 
93
15 "The Falcon: Part 2" Reza S. Badiyi Paul Playdon January 11, 1970 88
The wedding is halted when Francesca shoots herself dead… or does she? 
94
16 "The Falcon: Part 3" Reza S. Badiyi Paul Playdon January 18, 1970 89
The IMF launch the last stage of their plan, but time is running out… This is the series' only three-part episode. 
95
17 "Chico" Herb Wallerstein Ken Pettus January 25, 1970 92
The IMF team plans to use a trained dog named Chico to retrieve two parts of a microfilm that, when combined, reveal a list of double agents who have infiltrated a drug cartel and who are in danger of being exposed by the microfilm. 
96
18 "Gitano" Barry Crane Laurence Heath February 1, 1970 94
Paris, Willy and guest agent Zorka (Margarita Cordova) pose as gypsies and rescue a 12-year-old king (Barry Williams). To fool his assassins, the king has to dress up like a girl. 
97
19 "Phantoms" Marvin Chomsky Laurence Heath February 8, 1970 95
Using a clever projection system a dictator is made to believe that he sees the spirits of his dead victims. He must be removed from power so a political moderate can take control of the government and stop the planned purge of the nation's pro-West artist community. 
98
20 "Terror" Marvin Chomsky Laurence Heath February 15, 1970 93
Jim and his team must infiltrate a prison to block the release of a ruthless terrorist who is about to be pardoned. 
99
21 "Lover's Knot" Reza S. Badiyi Laurence Heath February 22, 1970 96
The IMF must break a spy ring in London. Matters get complicated by the fact that Paris develops feelings for the beautiful Lady Weston, who is part of that spy ring. After that, he is cast as a jealous lover in a romantic love triangle. 
100
22 "Orpheus" Gerald Mayer Paul Playdon March 1, 1970 97
The IMF team must stop an unknown assassin. 
101
23 "The Crane" Paul Krasny Ken Pettus March 8, 1970 99
Jim and his team rescue a prisoner and hide him at a conspicuous location right under his captors' noses. Then they use the rescue to topple the military junta that rules the nation. 
102
24 "Death Squad" Barry Crane Laurence Heath March 15, 1970 100
While on holiday with Jim, Barney kills a man in self-defense and is marked for execution by the dead man's brother (Pernell Roberts), a corrupt chief of police. The IMF team must rescue Barney before it is too late. 
103
25 "The Choice" Allan Greedy Teleplay: Ken Pettus
Story: Henry Sharp March 22, 1970 98
A mystic (Leonard Nimoy) plans to abuse his powerful influence over a duchess to ascend to the throne. 
104
26 "The Martyr" Virgil W. Vogel Ken Pettus March 29, 1970 101
Paris poses as the son of a martyred youth leader in order to stop a dictator who plans to crush the youth movement of his country. 



References[edit]
1.Jump up ^ TV Listings for September 28, 1969
2.Jump up ^ TV Listings for March 29, 1970
3.Jump up ^ White, Patrick J. (1991). The Complete Mission: Impossible Dossier. New York: Avon Books. ISBN 0-380-75877-6.


[hide]
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Mission: Impossible


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Mission: Impossible (1966–1973) ·
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 Episodes ·
 Guest stars  (A–M ·
 N–Z)
 
 

Films
Mission: Impossible (soundtrack) (1996) ·
 Mission: Impossible II (soundtrack ·
 score) (2000) ·
 Mission: Impossible III (score) (2006) ·
 Mission: Impossible – Ghost Protocol (2011)
 

Characters
Ethan Hunt ·
 Luther Stickell
 

Video games
Mission: Impossible (1990) ·
 Mission: Impossible (1998) ·
 Mission: Impossible (2000) ·
 Mission: Impossible – Operation Surma (2003)
 

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Mission: Impossible (1966–73) (season 5)
From Wikipedia, the free encyclopedia
  (Redirected from Mission: Impossible (1966-1973) (season 5))
Jump to: navigation, search


Mission: Impossible (1966-1973) (season 5)

Country of origin
United States
No. of episodes
23
Broadcast

Original channel
CBS
Original run
September 19, 1970 – March 17, 1971
Home video release
DVD release
Region 1
October 7, 2008
Region 2
February 9, 2009
Region 4
November 6, 2008
Season chronology

← Previous
Season 4
Next →
Season 6

List of Mission: Impossible episodes
The fifth season of the original Mission: Impossible originally aired Saturdays at 7:30-8:30 pm (EST) from September 19, 1970[1] to March 6, 1971.[2] "The Merchant" originally aired Wednesday, March 17, 1971 at 7:30-8:30 pm (EST).[3]
Episodes[edit]

Series
 #
Episode
 #
Title
Directed by
Written by
Original Airdate
Production
 #[4]

105
1 "The Killer" Paul Krasny Arthur Weiss September 19, 1970 105
Lesley Ann Warren joins the regular cast as Dana. The IMF must stop a contract assassin (Robert Conrad) who makes all his decisions based on random chance. This episode was remade as “The Killer“ (S01/E01) in the series remake. 
106
2 "Flip Side" John Llewellyn Moxey Jackson Gillis September 26, 1970 106
The IMF must bust an illegal pharmaceutical ring where a US manufacturer (Dana Elcar) sells - legally - to a Mexican businessman (Robert Alda), who then smuggles the product back across the border to a west-coast distributor (Sal Mineo). 
107
3 "The Innocent" John Llewellyn Moxey Teleplay: Marc Norman and Laurence Heath
Story: Marc Norman October 3, 1970 108
First appearance of Sam Elliott as recurring IMF team member Doug. When Barney is accidentally poisoned and subsequently caught during an attempt to destroy a computer, the IMF must persuade the only person in the area who can fill in for Barney to do the job - except he's reluctant to help and threatens to turn the team in. 
108
4 "Homecoming" Reza S. Badiyi Laurence Heath October 10, 1970 103
Jim discovers a series of murders going on in his hometown, and he brings in the rest of the IMF team to help him get to the bottom of it. Loretta Swit guest stars. 
109
5 "Flight" Barry Crane Teleplay: Harold Livingston
Story: Leigh Vance October 17, 1970 110
In order to foil an assassination, the IMF must convince the only man (John Colicos) who knows the identity of the assassin that his plane has crash-landed onto a notorious penal colony. 
110
6 "My Friend, My Enemy" Gerald Mayer Teleplay: Gene R. Kearney
Story: William Wood and Gene R. Kearney October 25, 1970 107
While motorcycling in Europe, Paris is recognized by enemy agents, kidnapped, and programmed to murder his "control" - Jim Phelps. 
111
7 "Butterfly" Gerald Mayer Teleplay: Eric Bercovici and Jerry Ludwig
Story: Sheldon Stark October 31, 1970 102
Paris must impersonate a kabuki artist and Willy must fight a jujitsu master in order to expose the murder of the Japanese wife of an American businessman by her isolationist brother (Khigh Dheigh). 
112
8 "Decoy" Seymour Robbie John D.F. Black November 7, 1970 109
The IMF must spirit the daughter of the late premier of an Eastern-bloc country - and the secret dossier he gave her - to the west out from under the nose of her brother and the country's security chief, who knows of her desire to defect and wants the secret document, a list of pro-Western officials. 
113
9 "The Amateur" Paul Krasny Ed Adamson November 14, 1970 112
While the IMF smuggles a secret weapon out of an Eastern-bloc country, they must contend with the meddling of a nightclub owner (Anthony Zerbe) who is not as clever as he thinks he is. 
114
10 "Hunted" Terry Becker Helen Hoblock Thompson November 21, 1970 111
While attempting to smuggle the ill leader of a black nationalist movement from the clutches of his country's murderous white settler minority, Barney is wounded by the secret police and forced to seek refuge with a deaf-mute seamstress. 
115
11 "The Rebel" Barry Crane Teleplay: Ken Pettus
Story: Norman Katkov and Ken Pettus November 28, 1970 104
After a scientist is executed, the IMF must discover the location of his notebook in order to keep it out of the hands of the military, led by a scheming colonel (Mark Lenard). 
116
12 "Squeeze Play" Virgil W. Vogel Teleplay: David Moessinger
Story: Walter Brough and David Moessinger December 12, 1970 114
Paris impersonates an American mobster in order to infiltrate the Syndicate's Mediterranean branch, obtain the list of their opium suppliers, and prevent the branch's terminally ill boss (Albert Paulsen) from perpetuating his empire. 
117
13 "The Hostage" Barry Crane Harold Livingston December 19, 1970 117
At the conclusion of a successful mission in a Latin country, revolutionaries kidnap Paris, believing he actually is the successful American hotel magnate that he had been portraying. 
118
14 "Takeover" Virgil W. Vogel Teleplay: Arthur Weiss
Story: Jerry Thomas and Arthur Weiss January 2, 1971 118
A youth organizer is hired by a political boss and his puppet mayor (Lloyd Bochner) to foment student violence in order to make their political opponents appear weak. Dana poses as a provocateur (who is the mayor's long-lost daughter) to disrupt their plans. 
119
15 "Cat's Paw" Virgil W. Vogel Howard Browne January 9, 1971 116
The IMF helps Barney avenge the murder of his older brother by the black Mob. 
120
16 "The Missile" Charles R. Rondeau Arthur Weiss January 16, 1971 119
An enemy agent attempts to steal the guidance system and schematics for a top-secret missile, but the IMF has secretly switched them out for fakes in order to set enemy weapons research back. Unfortunately, the team must also contend with a psychotic mechanic who is convinced that Dana is his former girlfriend. 
121
17 "The Field" Reza S. Badiyi Teleplay: Wesley Lau
Story: Judy Burns and Wesley Lau January 23, 1971 121
In order to help Barney cross an enemy minefield and destroy a nuclear satellite, Paris impersonates the American defector who designed the minefield. But when the real defector is accused of murder, the enemy forces take Paris into custody and reactivate the mines, with Barney trapped inside the field. 
122
18 "Blast" Sutton Roley James L. Henderson & Samuel Roeca January 30, 1971 122
Jim and Dana infiltrate a crew of bank robbers in order to discover the identity of the mysterious man they're funding, who aims to eventually overthrow the US government. 
123
19 "The Catafalque" Barry Crane Paul Playdon February 6, 1971 113
To discover the hidden location of a secret nuclear treaty and avoid a Cuban-style missile crisis, the IMF team must convince the son (John Vernon) of the country's deceased former leader that the new leader is framing him for murder. 
124
20 "Kitara" Murray Golden Mann Rubin February 20, 1971 120
In order to rescue a renowned resistance leader imprisoned in an African colony governed by apartheid, the IMF utilize drugs and a special light bulb to trick a white governor (Lawrence Dobkin) into believing that his race has been altered. 
125
21 "A Ghost Story" Reza S. Badiyi Teleplay: Ed Adamson and Ken Pettus
Story: John D.F. Black and Ed Adamson February 27, 1971 123
A fascist militia leader (Andrew Duggan) must be made to believe that he is seeing and hearing ghosts in order to find where he has hidden the corpse of his son, which contains the only remaining clues to the secret of a deadly nerve gas. 
126
22 "The Party" Murray Golden Harold Livingston March 6, 1971 124
An agent of the East European People's Republic gave his wife a code representing the location of the list of his government's spies in the US, then hypnotized himself to forget the list and its location, with the wife serving as the only trigger. In order to get the list, the IMF throws a fake party at the real embassy of the EEPR. 
127
23 "The Merchant" Leon Benson Harold Livingston March 17, 1971 115
Final appearances of Leonard Nimoy as Paris and Lesley Ann Warren as Dana. The IMF uses a rigged card game in order to bankrupt an illegal arms dealer (George Sanders). But when the computer the team was using is sabotaged, Paris must beat the arms dealer at five-card stud poker without any help. 



References[edit]
1.Jump up ^ TV Listings for September 19, 1970
2.Jump up ^ TV Listings for March 6, 1971
3.Jump up ^ TV Listings for March 17, 1971
4.Jump up ^ White, Patrick J. (1991). The Complete Mission: Impossible Dossier. New York: Avon Books. ISBN 0-380-75877-6.


[hide]
v ·
 t ·
 e
 
Mission: Impossible


Television
Mission: Impossible (1966–1973) ·
 Mission: Impossible (1988–1990) ·
 Episodes ·
 Guest stars  (A–M ·
 N–Z)
 
 

Films
Mission: Impossible (soundtrack) (1996) ·
 Mission: Impossible II (soundtrack ·
 score) (2000) ·
 Mission: Impossible III (score) (2006) ·
 Mission: Impossible – Ghost Protocol (2011)
 

Characters
Ethan Hunt ·
 Luther Stickell
 

Video games
Mission: Impossible (1990) ·
 Mission: Impossible (1998) ·
 Mission: Impossible (2000) ·
 Mission: Impossible – Operation Surma (2003)
 

Miscellaneous
Impossible Missions Force ·
 Theme
 

 


Categories: Mission: Impossible seasons
Mission: Impossible


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Mission: Impossible (1966–73) (season 6)
From Wikipedia, the free encyclopedia
  (Redirected from Mission: Impossible (1966-1973) (season 6))
Jump to: navigation, search


Mission: Impossible (1966-1973) (season 6)

Country of origin
United States
No. of episodes
22
Broadcast

Original channel
CBS
Original run
September 18, 1971 – February 26, 1972
Home video release
DVD release
Region 1
April 28, 2009
Region 2
May 18, 2009
Region 4
October 1, 2009
Season chronology

← Previous
Season 5
Next →
Season 7

List of Mission: Impossible episodes
The sixth season of the original Mission: Impossible originally aired Saturdays at 10:00-11:00 pm (EST) on CBS from September 18, 1971[1] to February 26, 1972.[2]
Episodes[edit]

Series
 #
Episode
 #
Title
Directed by
Written by
Original Airdate
Production
 #[3]

128
1 "Blind" Reza S. Badiyi Arthur Weiss September 18, 1971 126
Lynda Day George joins the regular cast as Casey. Jim undergoes surgery to be temporarily blinded in order to pose as a federal investigator who had been caught in an explosion caused by the Syndicate at an industrial facility. 
129
2 "Encore" Paul Krasny Harold Livingston September 25, 1971 125
To bring down a pair of crime syndicate bosses by finding evidence of a murder committed by them years before, the IMF must convince one of them (William Shatner) that he has travelled back in time to his youth in 1937. Final appearance of Sam Elliott as Doug. 
130
3 "The Tram" Paul Krasny Teleplay: James L. Henderson & Samuel Roeca
Story: Paul Playdon October 2, 1971 131
The IMF must infiltrate a Syndicate financial meeting - held at a mountain resort only accessible by aerial tramway - to discover the group's Swiss bank account number. 
131
4 "Mindbend" Marvin Chomsky James D. Buchanan & Ronald Austin October 9, 1971 130
A Syndicate boss has been using a psychopathic doctor to brainwash former prison inmates to assassinate public officials and then kill themselves immediately after, and Barney must go undercover and resist the doctor's "training" to expose them. 
132
5 "Shape-Up" Paul Krasny Ed Adamson and Norman Katkov October 16, 1971 133
The IMF has to break the Syndicate control over a waterfront and its docks by making the local boss believe a ship is haunted by the ghost of a man he killed. 
133
6 "The Miracle" Leonard J. Horn Dan Ullman October 23, 1971 129
The IMF makes a Syndicate drug smuggler (Joe Don Baker) believe he has received the heart of a priest in a transplant operation, faked for the benefit of him and his associate (Billy Dee Williams), and that he is taking on the donor's personality traits in order to intercept a large heroin shipment. 
134
7 "Encounter" Barry Crane Howard Berk October 30, 1971 132
In order to put two Syndicate operators out of commission, Casey poses as the wife (Elizabeth Ashley) of one of the operators attending a group encounter alcohol rehab center in order to convince the two operators that each is double-crossing the other. 
135
8 "Underwater" Sutton Roley Arthur Weiss November 6, 1971 134
When an underling steals a shipment of diamonds out from under the nose of a Syndicate fence (Fritz Weaver) and hides them underwater offshore, Casey makes the fence and the underling believe SCUBA diver Jim has already found them in order to retrieve the gems and the $75 million earmarked for their sale. 
136
9 "Invasion" Leslie H. Martinson James L. Henderson & Samuel Roeca November 13, 1971 137
After an enemy agent (Kevin McCarthy) steals the secrets of the US Distant Early Warning (DEW) system against nuclear missile strikes, he is made to believe the United States has been invaded by the country he's spying for in order to retrieve the document and uncover the identity of his "control". 
137
10 "Blues" Reza S. Badiyi Teleplay: Howard Berk
Story: Howard Berk and Orville H. Hampton November 20, 1971 139
Posing as an aspiring singer, Barney makes a Syndicate record executive (William Windom) believe he has an audio recording of the night the executive threw a woman off a balcony. 
138
11 "The Visitors" Reza S. Badiyi Harold Livingston November 27, 1971 135
Jim and Casey make a Syndicate-controlled media tycoon (Steve Forrest) believe they are extraterrestrials with the secret to eternal life in order to expose corrupt candidates in an upcoming election. 
139
12 "Nerves" Barry Crane Teleplay: Henry Sharp and Garrie Bateson
Story: Henry Sharp December 4, 1971 140
When a paranoid Syndicate enforcer (Christopher George, Lynda Day George's husband) threatens to release deadly nerve gas in a heavily populated area to force the release of his brother from prison, the IMF must recover the defective gas canister before it leaks and kills thousands. Guest starring Tyne Daly as the enforcer's girlfriend and Rafer Johnson as his partner. 
140
13 "Run for the Money" Marvin Chomsky Edward J. Lakso December 11, 1971 128
To bring down a Syndicate man running illegal parimutuel betting parlors and stop the saboteur blowing up their competition, the IMF pits the two men against each other by making the saboteur believe he's buying a stolen and disguised super-horse. 
141
14 "The Connection" Barry Crane Teleplay: Edward J. Lakso and Ken Pettus
Story: Edward J. Lakso December 18, 1971 136
In order to take down the largest supplier of uncut heroin on the eastern seaboard (Anthony Zerbe) and uncover his opium source, the IMF makes him believe an island off the coast of Georgia is really off the coast of Africa. 
142
15 "The Bride" John Llewellyn Moxey Jackson Gillis January 1, 1972 127
Casey poses as the Irish mail-order bride of a Syndicate boss (James Gregory) in order to disrupt an international money laundering ring. 
143
16 "Stone Pillow" Leslie H. Martinson Howard Browne January 8, 1972 142
In order to discover the location of film negatives an inmate is using to blackmail a Syndicate boss, cellmate Jim must bust the inmate out of prison for real. 
144
17 "Image" Don McDougall Samuel Roeca & James L. Henderson January 15, 1972 138
When a Syndicate boss threatens to flee the country to avoid prosecution and take a secret list of corrupt officials with him, tarot reader Barney convinces him he has a heretofore unknown (and separated) conjoined twin to get him to divulge the list's location. 
145
18 "Committed" Reza S. Badiyi Teleplay: Arthur Weiss
Story: Laurence Heath January 22, 1972 141
Casey gets herself committed to a prison-like mental hospital in order to save the only witness in a murder trial against a Syndicate boss from being driven insane by the corrupt staff. 
146
19 "Bag Woman" Paul Krasny Ed Adamson and Norman Katkov January 29, 1972 144
After Barney's cover is blown during an operation to discover the identity of a politician demanding bribes from the Syndicate, the rest of the team races to warn bag woman Casey that the satchel she's carrying is actually a bomb. 
147
20 "Double Dead" Barry Crane Teleplay: Jackson Gillis and Laurence Heath
Story: Jackson Gillis February 12, 1972 143
When Willy is captured stealing the $10 million bankroll of a pair of Syndicate loan sharks, the rest of the IMF must not only turn the loan sharks against each other in order to get the money, but also rescue Willy before a Syndicate doctor can break him using a truth serum. The set of the Brady home from the TV series The Brady Bunch is featured in this episode (Barry "Greg Brady" Williams previously appeared in season four's "Gitano," and Robert "Mike Brady" Reed appears in the final season's "Hit"). 
148
21 "Casino" Reza S. Badiyi Walter Brough and Howard Berk February 19, 1972 145
To take down a Syndicate casino owner (Jack Cassidy), the IMF makes his Syndicate bosses believe he's planning to rob his own vault and flee with the money to the Caribbean. The events of the seventh season episode "Kidnap" (S07/E11) make reference to this episode. 
149
22 "Trapped" Leslie H. Martinson Teleplay: Samuel Roeca & James L. Henderson
Story: Rick Husky February 26, 1972 146
To recover $8 million stolen during an Army payroll heist in Southeast Asia and nab a smuggling family, the IMF convinces one brother (Bert Convy) that the other brother (Jon Cypher) is trying to have him killed. However, after Jim is shot during the mission, he develops amnesia. 



References[edit]
1.Jump up ^ TV Listings for September 18, 1971
2.Jump up ^ TV Listings for February 26, 1972
3.Jump up ^ White, Patrick J. (1991). The Complete Mission: Impossible Dossier. New York: Avon Books. ISBN 0-380-75877-6.


[hide]
v ·
 t ·
 e
 
Mission: Impossible


Television
Mission: Impossible (1966–1973) ·
 Mission: Impossible (1988–1990) ·
 Episodes ·
 Guest stars  (A–M ·
 N–Z)
 
 

Films
Mission: Impossible (soundtrack) (1996) ·
 Mission: Impossible II (soundtrack ·
 score) (2000) ·
 Mission: Impossible III (score) (2006) ·
 Mission: Impossible – Ghost Protocol (2011)
 

Characters
Ethan Hunt ·
 Luther Stickell
 

Video games
Mission: Impossible (1990) ·
 Mission: Impossible (1998) ·
 Mission: Impossible (2000) ·
 Mission: Impossible – Operation Surma (2003)
 

Miscellaneous
Impossible Missions Force ·
 Theme
 

 


Categories: Mission: Impossible seasons
Mission: Impossible


Navigation menu



Create account
Log in



Article

Talk










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 Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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Powered by MediaWiki
   






Mission: Impossible (1966–73) (season 7)
From Wikipedia, the free encyclopedia
  (Redirected from Mission: Impossible (1966-1973) (season 7))
Jump to: navigation, search


Mission: Impossible (1966-1973) (season 7)

Country of origin
United States
No. of episodes
22
Broadcast

Original channel
CBS
Original run
September 16, 1972 – March 30, 1973
Home video release
DVD release
Region 1
November 3, 2009
Region 2
March 22, 2010
Region 4
October 1, 2009
Season chronology

← Previous
Season 6
Next →
—

List of Mission: Impossible episodes
The seventh and final season of the original Mission: Impossible originally aired Saturdays at 10:00-11:00 pm (EST) on CBS from September 16[1] to December 9, 1972[2] and Fridays at 8:00-9:00 pm (EST) from December 22, 1972[3] to March 30, 1973.[4]
Episodes[edit]

Series
 #
Episode
 #
Title
Directed by
Written by
Original Airdate
Production
 #[5]

150
1 "Break!" Paul Krasny Samuel Roeca & James L. Henderson September 16, 1972 151
In New Orleans, Jim poses as a pool shark in order to locate microfilm in a dead agent's wristwatch. Robert Conrad guest stars. This is the first of seven episodes in which Barbara Anderson starred as Mimi Davis, who replaced Lynda Day George while she was on maternity leave (George's character Casey is explained to be "on some special assignments in Europe"). 
151
2 "Two Thousand" Leslie H. Martinson Harold Livingston September 23, 1972 148
A nuclear physicist (Vic Morrow) who stole 50 kg of plutonium to sell to foreign interests is made to believe that the United States was leveled by a nuclear holocaust and that he has been catatonic for 28 years. This episode is similar to the episodes "Operation Rogosh" and "Invasion". 
152
3 "The Deal" Leslie H. Martinson Teleplay: George F. Slavin and Stephen Kandel
Story: George F. Slavin September 30, 1972 152
The IMF must find the key to a safety deposit box containing $5 million, which is earmarked to buy the Syndicate's way into a country's takeover. 
153
4 "Leona" Leslie H. Martinson Howard Browne October 7, 1972 150
To rescue an undercover federal agent whose cover was blown, the IMF turns two mobsters (Dewey Martin, Robert Goulet) against one another by making one of them think he is seeing visions of his dead wife. 
154
5 "TOD-5" Lewis Allen James D. Buchanan & Ronald Austin October 14, 1972 155
In order to recover a stolen bioweapon canister of a bioweapon and ferret out a diabolical scientist's (Ray Walston) terrorist organization, the IMF makes the organization's courier believe he has been infected himself. 
155
6 "Cocaine" Reza S. Badiyi Teleplay: Harold Livingston
Story: Norman Katkov and Harold Livingston October 21, 1972 156
In order to find out the drop location of the largest cocaine shipment ever to come to the United States, the IMF sets up an assistant (William Shatner) of a drug kingpin with what the assistant thinks is an opportunity to undercut him for a bigger payoff. 
156
7 "Underground" David Lowell Rich Leigh Vance October 28, 1972 149
In order to locate $27 million of Syndicate money, the IMF must take down a human smuggling ring which purports to smuggle criminals out of the country but, in reality, brainwashes them to give up the location of their stolen money and then disposes of them. This was the final episode of the original series to be scored by Lalo Schifrin. 
157
8 "Movie" Terry Becker Teleplay: Anthony Bowers, Arthur Weiss and Stephen Kandel
Story: Anthony Bowers November 4, 1972 159
Barney poses as a director making a film about an unsolved murder committed by a Syndicate money man (John Vernon) in order to get hold of Syndicate financial records. 
158
9 "Hit" Reza S. Badiyi Douglas Weir November 11, 1972 158
The IMF plans to remove the remaining allies of an incarcerated Syndicate chief in order to obtain both the proof of his guilt in an unsolved murder and the identity of his secret partner known only as "The General." Robert Reed guest stars as a corrupt assistant DA. 
159
10 "Ultimatum" Barry Crane Teleplay: Harold Livingston
Story: Shirl Hendryx and Harold Livingston November 18, 1972 160
The IMF has less than one day to locate and disarm a hydrogen bomb planted somewhere in the western United States by a small group led by a brilliant nuclear physicist demanding the resignation of named Congressmen and cabinet officials and the reversal of certain foreign policies of US Government. This is the last of seven episodes in which Barbara Anderson starred as Mimi Davis. 
160
11 "Kidnap" Peter Graves Samuel Roeca & James L. Henderson December 2, 1972 161
In an off-book mission, a mob boss who lost money and records as a result of the IMF operation of the sixth season episode "Casino" (S06/E21) holds Jim Phelps hostage for the purpose of using the team to steal a letter from a safe deposit box that can be used to convict him of murder. 
161
12 "Crack-Up" Sutton Roley Teleplay: Arthur Weiss
Story: Robert & Phyllis White and Arthur Weiss December 9, 1972 154
In order to bring down a brilliant hitman (Alex Cord), the team tricks him into believing he kills people during blackouts. 
162
13 "The Puppet" Lewis Allen Leigh Vance December 22, 1972 162
After the head of a criminal family is injured in a hunting accident and confined to bed, his younger brother (Roddy McDowall) wants to take control of the empire and change its policies. The IMF must determine the family's new criminal enterprise involving more than $100 million, discover the reason for the change of policy, and smash the new plan. 
163
14 "Incarnate" Barry Crane Teleplay: Buck Houghton and Stephen Kandel
Story: Buck Houghton January 5, 1973 165
When the ruthless leader of a criminal gang (Kim Hunter) flees to a Caribbean island that has no extradition treaty with the U.S., the IMF uses her belief in the occult to induce her to return to the US of her own freewill so she can be captured and the gold she stole can be recovered. 
164
15 "Boomerang" Leslie H. Martinson Howard Browne January 12, 1973 164
After a mobster's wife kills him and takes his vital criminal records into her possession, the IMF induces a false belief in her that he survived and is trying to kill her so that the records can be located and turned over to the authorities. 
165
16 "The Question" Leslie H. Martinson Stephen Kandel January 19, 1973 157
A top KGN assassin (Gary Lockwood) claims to be defecting, and the IMF team (which includes Elizabeth Ashley) must kidnap him from the headquarters of an untrustworthy Federal Intelligence Service (FIS) in order to determine whether he's a genuine defector (or "defecting" for the purpose of feeding false intelligence). 
166
17 "The Fountain" Barry Crane Stephen Kandel January 26, 1973 163
After a Syndicate executive (George Maharis) steals incriminating computerized records, the IMF makes him believe he has stumbled onto a mystical society with the secret of eternal youth to gain possession of the records before his arch-rival (Cameron Mitchell) does. 
167
18 "The Fighter" Paul Krasny Teleplay: Stephen Kandel and Nicholas E. Baehr
Story: Orville H. Hampton February 9, 1973 167
The IMF returns to boxing to expose and destroy the criminal boxing operations of the Syndicate handled by its man (Joe Maross) and his partner (William Windom) who is a corrupt promoter. The IMF was previously involved in the boxing ring in the third season, two-part episode "The Contender" (S03/E02 & S03/E03). 
168
19 "Speed" Virgil W. Vogel Lou Shaw February 16, 1973 147
The team is sent after a powerful drug-dealer (Claude Akins), whose daughter (Jenny Sullivan) is addicted to amphetamines. Partly filmed on location in San Francisco. This was the first episode produced for the seventh and final season of the original series. 
169
20 "The Pendulum" Lewis Allen Calvin Clements Jr. February 23, 1973 168
In order to prevent a secret terrorist organization known as “The Pendulum” from disrupting the power centers of the United States and executing a major attack on the country in a plan called “Project Nightfall,” the IMF must convince a brilliant but ruthless member of the organization (Dean Stockwell) he's being recruited by a more powerful organization. This was the final episode produced for the seventh and final season of the original series. 
170
21 "The Western" Leslie H. Martinson Arnold & Lois Peyser March 2, 1973 166
After a brilliant thief Ed Nelson and his accomplice looted a country's national treasure of pre-Columbian art worth $5 million, the IMF makes the thief believe that he has precognitive visions in order to locate the art and prove his guilt. Prior to joining the cast of Mission: Impossible, Lynda Day George starred with Nelson and Percy Rodrigues (who appeared in the fourth-season episode "Chico" (S04/E17)) in The Silent Force, an Aaron Spelling television series having a similar premise as Mission: Impossible that aired for a single season in 1970-1971. 
171
22 "Imitation" Paul Krasny Edward J. Lakso March 30, 1973 153
A jewel thief (Barbara McNair) and her crew (which includes Pernell Roberts) steal the crown jewels of Marnsburg, a country hostile to the US. To prevent the sale of the jewels to the Syndicate, the IMF must recover the jewels and place them in a vault of Marnsburg's consulate without any help from the unfriendly country. 



References[edit]
1.Jump up ^ TV Listings for September 16, 1972
2.Jump up ^ TV Listings for December 9, 1972
3.Jump up ^ TV Listings for December 22, 1972
4.Jump up ^ TV Listings for March 30, 1973
5.Jump up ^ White, Patrick J. (1991). The Complete Mission: Impossible Dossier. New York: Avon Books. ISBN 0-380-75877-6.


[hide]
v ·
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Mission: Impossible


Television
Mission: Impossible (1966–1973) ·
 Mission: Impossible (1988–1990) ·
 Episodes ·
 Guest stars  (A–M ·
 N–Z)
 
 

Films
Mission: Impossible (soundtrack) (1996) ·
 Mission: Impossible II (soundtrack ·
 score) (2000) ·
 Mission: Impossible III (score) (2006) ·
 Mission: Impossible – Ghost Protocol (2011)
 

Characters
Ethan Hunt ·
 Luther Stickell
 

Video games
Mission: Impossible (1990) ·
 Mission: Impossible (1998) ·
 Mission: Impossible (2000) ·
 Mission: Impossible – Operation Surma (2003)
 

Miscellaneous
Impossible Missions Force ·
 Theme
 

 


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Mission: Impossible (1988 TV series) (season 1)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Mission: Impossible (1988 TV series) (season 1)

Country of origin
United States
No. of episodes
19
Broadcast

Original channel
ABC
Original run
October 23, 1988 – May 6, 1989
Home video release
DVD release
Region 1
November 29, 2011
Season chronology

← Previous
—
Next →
Season 2

List of Mission: Impossible episodes
The first season of the Mission: Impossible revival originally aired Sundays at 8:00-9:00 pm (EST) from October 23, 1988[1] to January 15, 1989[2] and Saturdays at 8:00-9:00 pm (EST) from January 28[3] to May 6, 1989.[4]
Episodes[edit]

Series
 #
Episode
 #
Title
Directed by
Written by
Original Airdate
Production
 #[5]

1
1 "The Killer" Cliff Bole Arthur Weiss October 23, 1988 1
Remake of "The Killer" (S05/E01) of the original series. When an assassin (John de Lancie) kills his protégé and replacement as IMF team leader, Jim Phelps comes out of retirement in order to stop both the assassin and the man behind him, known only as "Scorpio". His team's job is complicated when it's discovered the killer makes his decisions at random. 
2
2 "The System" Cliff Bole Robert Hamner October 30, 1988 3
Remake of "The System" (S03/E15) of the original series. In order to get him to turn state's evidence against his Syndicate boss, the IMF makes a crooked casino owner (James Sloyan) believe his boss is setting him up to be eliminated. 
3
3 "Holograms" Kim Manners Robert Brennan November 6, 1988 4
In order to tempt the strongman leader of a Latin American country onto a US territorial island so that he can be extradicted, the IMF uses a 15-year-old boy to pose as his long-lost son. This was the first original episode to either be produced or aired for the revival series. 
4
4 "The Condemned" Cliff Bole Teleplay by: Ted Roberts & Michael Fisher
Story by: John Truman November 20, 1988 5
Remake of "The Condemned" (S02/E19). After Grant's father Barney Collier (Greg Morris, reprising his role from the original series) is framed for murder in Istanbul, the IMF must break him out of prison and determine why he was set up. ("John Truman" is a pseudonym for the original episode's writer, Laurence Heath, who had his name removed from the credits of the remake.) 
5
5 "The Legacy" Kim Manners Michael Lynn & Allan Balter November 26, 1988 2
Nicholas poses as one of the four grandsons of Nazi officers who want to use a stash of Nazi gold hidden by their grandfathers at the end of WWII in order to finance a wave of terrorist activities in Europe. Episode revived from the original series (S01/E15), written by William Read Woodfield and Allan Balter (Woodfield had his name taken off the credits of the revived episode; Balter had since passed away). 
6
6 "The Wall" Colin Budds David Phillips December 11, 1988 6
In order to rescue the daughter of a West German negotiator, the team manipulates a crooked East German doctor who offers to smuggle people to West Berlin for an exorbitant fee but, in reality, delivers them into the hands of the Stasi. The episode is a loose remake of the original series episode "The Bank." 
7
7 "The Cattle King" Mike Vejar Ted Roberts December 18, 1988 7
The IMF sets out to thwart an Australian cattle rancher and arms dealer who is offering to sell Stinger missiles to terrorists by making him think he has been cursed by an Aboriginal shaman. This episode is very similar to "Doomsday". 
8
8 "The Pawn" Brian Trenchard-Smith Billy Marshall-Stoneking January 15, 1989 8
When a Czechoslovakian nuclear scientist and chess grand master wishes to defect to the west with his daughter, the IMF must get him out from under the watchful eye of his minder, a suspicious Soviet colonel. 
9
9 "The Haunting" Mike Vejar Michael Fisher January 28, 1989 9
The IMF team uses the supernatural interests of the domineering mother (Janis Paige) of a serial killer (Parker Stevenson) in order bring him down after he kills the princess of an oil-rich sultanate. 
10
10 "The Lions" Rob Stewart Teleplay by: David Phillips
Story by: James Crown February 4, 1989 10
A royal usurper (James Shigeta) is out to kill the true heir to the throne of the Himalayan kingdom of Bajan-Du by replacing the pieces of a deadly puzzle that is part of the coronation ceremony with replicas that will ensure failure. 
11
11 "The Greek" Colin Budds Ted Roberts February 11, 1989 11
The IMF makes the heads of the organization of a Greek tycoon and relief medicine smuggler (Cesare Danova) believe he is double-crossing them. 
12
12 "The Fortune" Rod Hardy Robert Brennan February 18, 1989 12
While performing advanced recon for a mission to recover the money looted from the treasury of a Caribbean nation by its ousted dictator and his Eva Perón-like wife (Barbara Luna), Casey is captured and killed. The rest of the team, along with new team member Shannon Reed, must accomplish the mission while also obtaining proof of Casey's death. This is the final episode for Terry Markwell as Casey Randall and the first episode for Jane Badler as Shannon Reed. This episode is the only time in either the original series or the remake series that an IMF agent is killed and subsequently disavowed. 
13
13 "The Fixer" Colin Budds Walter Brough February 25, 1989 13
A Washington journalist (Richard Romanus) has a sideline in blackmail and the team must stop him by turning his confidante and bodyguard against him. 
14
14 "Spy" Rob Stewart Michael Fisher March 18, 1989 14
The IMF must go to Africa to stop a rogue former MI6 agent from selling a cache of diamonds in order to finance the sale of chemical weapons. The mission is complicated when Jim's cover is blown and he is shot. 
15
15 "The Devils" Arch Nicholson Ted Roberts March 25, 1989 15
The team investigates a member of the English gentry who involves foreign and domestic officials in Satanic rituals and human sacrifice for blackmail purposes. 
16
16 "The Plague" Colin Budds Rick Maier April 8, 1989 16
A French terrorist (Maud Adams) has stolen a deadly bacteria that causes rapid organ deterioration in those infected by it. The IMF must convince her she has been infected herself in order to re-obtain it. 
17
17 "Reprisal" Rob Stewart Walter Brough April 15, 1989 17
When a psychotic ex-IMF scientist begins killing the old IMF team that Jim led which put him behind bars (and frames Jim for the murders), the new team must figure out how he is killing from his prison cell and try to save the remaining targeted agents. Lynda Day George reprises her role of Casey from the original series; the character was given the first name "Lisa" in order to avoid confusion with the character of Casey Randall.[5] 
18
18 "Submarine" Colin Budds Dale Duguid April 29, 1989 18
The team must track down the purveyor (Mitchell Ryan) of a computer virus that destroys the systems of naval vessels. Written by series art director Dale Duguid. The episode is a loose remake of the original series episode of the same title. 
19
19 "Bayou" Don Chaffey Jeffrey M. Hayes May 6, 1989 19
The team has to take down the head of a white slavery operation in Louisiana (Frank Thring) by using the voodoo beliefs of his trusted lieutenant (Paula Kelly) to drive a wedge between them. 



References[edit]
1.Jump up ^ TV Listings for October 23, 1988
2.Jump up ^ TV Listings for January 15, 1989
3.Jump up ^ TV Listings for January 28, 1989
4.Jump up ^ TV Listings for May 6, 1989
5.^ Jump up to: a b White, Patrick J. (1991). The Complete Mission: Impossible Dossier. New York: Avon Books. ISBN 0-380-75877-6.


[hide]
v ·
 t ·
 e
 
Mission: Impossible


Television
Mission: Impossible (1966–1973) ·
 Mission: Impossible (1988–1990) ·
 Episodes ·
 Guest stars  (A–M ·
 N–Z)
 
 

Films
Mission: Impossible (soundtrack) (1996) ·
 Mission: Impossible II (soundtrack ·
 score) (2000) ·
 Mission: Impossible III (score) (2006) ·
 Mission: Impossible – Ghost Protocol (2011)
 

Characters
Ethan Hunt ·
 Luther Stickell
 

Video games
Mission: Impossible (1990) ·
 Mission: Impossible (1998) ·
 Mission: Impossible (2000) ·
 Mission: Impossible – Operation Surma (2003)
 

Miscellaneous
Impossible Missions Force ·
 Theme
 

 


Categories: Mission: Impossible seasons
Mission: Impossible


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Mission: Impossible (1988 TV series) (season 2)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Mission: Impossible (1988 TV series) (season 2)

Country of origin
United States
No. of episodes
16
Broadcast

Original channel
ABC
Original run
September 21, 1989 – February 24, 1990
Home video release
DVD release
Region 1
February 28, 2012
Season chronology

← Previous
Season 1
Next →
—

List of Mission: Impossible episodes
The second and final season of the Mission: Impossible revival originally aired Thursdays at 8:00-9:00 pm (EST) on ABC from September 21[1] to December 14, 1989[2] and Saturdays at 8:00-9:00 pm (EST) from January 6[3] to February 24, 1990.[4]
Episodes[edit]

Series
 #
Episode
 #
Title
Directed by
Written by
Original Airdate
Production
 #[5][5]

20
1 "The Golden Serpent: Part 1" Don Chaffey Teleplay by: Michael Seims and Ted Roberts & Jeffrey M. Hayes
Story by: Michael Seims September 21, 1989 20
In order to bring down the ruler of a small southeast Asian principality, who is also a member of an opium cartel, the IMF makes the prince believe his long-dead twin brother is still alive and out for revenge. Greg Morris guest stars as Barney Collier. 
21
2 "The Golden Serpent: Part 2" Don Chaffey Teleplay by: Michael Seims and Ted Roberts & Jeffrey M. Hayes
Story by: Michael Seims September 28, 1989 21
Conclusion. After making the leader of the cartel believe the prince had been stealing from him, Jim and Tony pose as rivals trying to take over the organization. 
22
3 "The Princess" Colin Budds Ted Roberts October 5, 1989 22
In order to save a European princess targeted for assassination by a member of her inner circle from the killer known only as "Coyote" the IMF poses as a film production crew making a film about the assassin. 
23
4 "Command Performance" Arch Nicholson Robert Brennan October 12, 1989 23
The IMF team poses as circus performers to rescue a priest who can bring down a Baltic defense minister and recover a hidden relic which contains state secrets. Similar to the original series episode "Old Man Out". 
24
5 "Countdown" Brian Trenchard-Smith Chip Hayes October 26, 1989 24
Grant must get close to a fanatical woman and find the location of a nuclear bomb. 
25
6 "War Games" Rod Hardy Walter Brough November 2, 1989 25
A fanatical general plans to turn war games into the real thing. His objective is to invade the bordering nation and overthrow his own government. 
26
7 "Target Earth" Colin Budds Stephen Kandel November 9, 1989 26
Can the IMF stop the world's first private space flight from being used for evil? (Stephen Kandel is the only writer other than Walter Brough ("The Fixer," "Reprisal" and "War Games") to contribute original scripts to both the original series and series remake.) 
27
8 "The Fuehrer's Children" Don Chaffey Frank Abatemarco November 16, 1989 27
A neo-Nazi plans to unify the various neo-Nazi groups and create a fourth Reich using kidnapped children that were brainwashed from an early age. 
28
9 "Banshee" Colin Budds Ted Roberts November 30, 1989 28
An arms dealer in Northern Ireland increases his sales by killing a group of elderly people who are going on a picnic by planting a bomb in a bottle beer. Thus, inflaming the conflict between the Catholics and Protestants. The IMF is sent in to stop him and use some local mythology to help. Jim and Max go undercover as a pair of arms dealers seeking to make a deal with the first group who planted the bomb. While Shannon and Nicholas pose as traveling musicians and spread rumors about the spirits being angry about the old people being killed. The leaders from the opposing factions are kidnapped, and handcuffed together and forced to talk out their differences while the rest of the team goes after the arms dealer and his henchman. The teams pulls off an elaborate ruse wherein Shannon impersonates a Banshee and the others create the coach of death. All the while, the two rebel leaders are watching the events on a monitor while they are confined. Both agree to work together to deal with the murderer and then talk to settle their problems.
Instead of the next episode For Art's Sake, the trailer shown at the end of Banshee was that of Submarine. 
29
10 "For Art's Sake" Don Chaffey John Whelpley December 14, 1989 29
An important national painting, on loan to the United States, is stolen by an art thief and placed in a hidden gallery. The IMF have to recover the painting before an international incident occurs, with a little help from Degas. Alex Cord, the villain from Season 7's "Crack Up" from the original series, stars as the villain in this episode. 
30
11 "Deadly Harvest" Arch Nicholson Jan Sardi January 6, 1990 30
Terrorists plot to destroy the American wheat harvest. 
31
12 "Cargo Cult" Colin Budds Dale Duguid January 13, 1990 31
The IMF must stop evil gold miners from destroying Pacific islanders. 
32
13 "The Assassin" Arch Nicholson Cliff Green January 20, 1990 32
Why are government officials suddenly committing murder and then killing themselves? This episode was a remake of "Mindbend". 
33
14 "The Gunslinger" Colin Budds Teleplay by: Ted Roberts
Story by: Dan Roberts February 3, 1990 33
An old west show town hides a deadly secret in a mine. 
34
15 "Church Bells in Bogota" Arch Nicholson Frank Abatemarco February 10, 1990 34
After the brutal killing of a judge who dared to stand up to a brutal drug lord; Jim's IMF team is assigned to bring the drug lord to the U.S. to be brought to justice. To accomplish this, Shannon is assigned to infiltrate the nightclub that the drug lord owns and she is given the cover of a singer named Sarah Parsons. While Max and Jim infiltrate the drug lord's compound. Shannon is immediately hired to sing at the club and as such she is flown by the drug lord's nephew to Columbia on a private jet. However, during the flight, the plane crashes and Shannon loses her memory as a result. Jim goes to the hospital and disguises himself as a doctor and Shannon doesn't recognize him. Subsequent events see Shannon buy her own cover and she is taken to the drug lord's mansion to recover. While there, the drug lord's nephew lavishes gifts and affection on Shannon who, in turn, falls in love with him. Grant comes up with a device that may help Shannon regain her memory. Jim, under the guise of a doctor goes to Shannon and uses the device on her and it works. In order to draw out the target, Shannon agrees to accept a marriage proposal and go through with the ceremony while Nicholas impersonates a priest. The team manages to extract themselves and the target while being pursued by enemy forces. 
35
16 "The Sands of Seth" Colin Budds Jeffrey M. Hayes February 24, 1990 35
A museum curator is killing Egyptian politicians. 



References[edit]
1.Jump up ^ TV Listings for September 21, 1989
2.Jump up ^ TV Listings for December 14, 1989
3.Jump up ^ TV Listings for January 6, 1990
4.Jump up ^ TV Listings for February 24, 1990
5.^ Jump up to: a b White, Patrick J. (1991). The Complete Mission: Impossible Dossier. New York: Avon Books. ISBN 0-380-75877-6.


[hide]
v ·
 t ·
 e
 
Mission: Impossible


Television
Mission: Impossible (1966–1973) ·
 Mission: Impossible (1988–1990) ·
 Episodes ·
 Guest stars  (A–M ·
 N–Z)
 
 

Films
Mission: Impossible (soundtrack) (1996) ·
 Mission: Impossible II (soundtrack ·
 score) (2000) ·
 Mission: Impossible III (score) (2006) ·
 Mission: Impossible – Ghost Protocol (2011)
 

Characters
Ethan Hunt ·
 Luther Stickell
 

Video games
Mission: Impossible (1990) ·
 Mission: Impossible (1998) ·
 Mission: Impossible (2000) ·
 Mission: Impossible – Operation Surma (2003)
 

Miscellaneous
Impossible Missions Force ·
 Theme
 

 


Categories: Mission: Impossible seasons
Mission: Impossible


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Mission: Impossible (1988 TV series)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Mission: Impossible
Mission Impossible - 1988 DVD.jpg
1988 season DVD set cover

Genre
Action/Adventure
Format
Espionage
Created by
Bruce Geller
Starring
Peter Graves
Thaao Penghlis
Tony Hamilton
Phil Morris
Terry Markwell
Jane Badler
Bob Johnson
Theme music composer
Lalo Schifrin
Country of origin
United States produced and filmed in Australia
No. of seasons
2
No. of episodes
35 (List of episodes)
Production

Running time
46–49 minutes
Production company(s)
Paramount Network Television
Distributor
CBS Television Distribution
Broadcast

Original channel
ABC
Audio format
Stereo
Original run
October 23, 1988 – February 24, 1990
Mission: Impossible is an American television series that chronicles the missions of a team of secret American government agents known as the Impossible Missions Force (IMF). The show is a revival of the 1966 TV series of the same name. The only actor to return for the series as a regular cast member was Peter Graves who played Jim Phelps, although two other cast members from the original series (Greg Morris and Lynda Day George) returned as guest stars. The only other regular cast member (unseen) to return for every episode was the voice of "The Tape" (in this series, "The Disc"), Bob Johnson.


Contents  [hide]
1 Series synopsis
2 Background 2.1 Cancellation
3 Episode remakes
4 Formula 4.1 The tape scene
4.2 The apartment scene
4.3 The plan
4.4 Variations
4.5 Improvisation
4.6 Conclusion
4.7 Breaking the formula
5 Appearances from original IMF veterans
6 Revival cast
7 DVD releases
8 See also
9 References
10 External links

Series synopsis[edit]
The events of the series take place 15 years after the last season of the original Mission: Impossible TV series. After his protégé and successor as leader of the top-secret Impossible Missions Force is killed, Jim Phelps is called out of retirement and asked to form a new IMF team and track down the assassin.
His team consists of Nicholas Black, a disguise expert and actor; Max Harte, a strongman; Casey Randall, a model-turned-agent; and Grant Collier, the son of Barney Collier, the IMF's original technology expert, and a technical genius in his own right. After finding the killer, Jim decides to stay on and keep the team together. Midway through season 1, Casey is killed during a mission (becoming the first ongoing IMF agent to be disavowed), and Secret Service agent Shannon Reed succeeds her for the remainder of the series. With the exception of this cast change, Phelps' team remains constant throughout the series.
Background[edit]
In 1988, the American fall television season was hampered by a writers' strike that prevented the commissioning of new scripts. Producers, anxious to provide new product for viewers but with the prospect of a lengthy strike, went into the vaults for previously written material. Star Trek: The Next Generation, for example, used scripts written for an aborted Star Trek series proposed for the 1970s.[citation needed] The ABC network decided to launch a new Mission: Impossible series, with a mostly new cast (except for Peter Graves, who would return as Phelps), but using scripts from the original series, suitably updated. To save even more on production costs, the series was filmed in Australia; the first season in Queensland, and the second season of episodes in Melbourne. Costs were, at that time, some 20 percent lower in Australia compared with Hollywood. The new Mission: Impossible was one of the first American commercial network programs to be filmed in Australia. The show's core cast included several Australian actors, and numerous Australians (along with Australian-based American and British actors) were cast in guest-starring roles, too.
According to Patrick White's book, The Complete Mission Impossible Dossier, the original plan was for the series to be an actual remake/reimaginging of the original series, with the new cast playing the same characters from the original series: Rollin Hand, Cinnamon Carter, et al. Just before filming began, White writes, the decision was made to rework the characters so that they were now original creations, albeit still patterned after the originals, with only Jim Phelps remaining unchanged, and with the Collier character becoming the son of the original to take advantage of the fact the actor cast in the role, Phil Morris, is the son of Greg Morris, the actor who played Barney Collier. One of the reworked scripts incorporated a guest appearance by the elder Morris as Barney Collier.
The strike ultimately ended and the series was able to compose original storylines; ultimately only a couple of episodes ended up being outright remakes of the original series, including the show's premiere episode.
Cancellation[edit]
Originally, the show had aired on Sundays, and was moved to Saturday evenings starting with episode 9 of the first season. At the start of the second season, ABC moved the show to the Thursday 8:00 p.m. timeslot, which proved to be a disaster for the show. Being forced to compete with NBC's The Cosby Show and A Different World, Mission: Impossible's ratings quickly declined. ABC responded by moving the show back to Saturday nights to replace the sitcoms Mr. Belvedere and Living Dolls, which faltered badly in their time slots. The move was to no avail as the series was cancelled at the end of the second season.
Episode remakes[edit]
The series was originally planned to be a limited series. A new cast was hired to play the characters from the original Mission: Impossible, and the episodes were all going to remake original series scripts. This changed when Peter Graves returned to the role of Jim Phelps; the other characters were then renamed, and the show became a continuation of the original.
The new series was not a huge hit, but it was produced cheaply enough to keep it on the ABC schedule. The new M:I ultimately lasted for two years; the writers' strike was resolved quickly enough that only a few episodes were actual remakes.
Formula[edit]
The formulaic episode structure from the original series was largely repeated in the second Mission: Impossible series of the 1980s, though the writers took some liberties and tried to stretch the rules somewhat. Most notably, by the time of the revival series, the Impossible Missions Force (which was originally suggested to be an independent agency) was no longer a small, clandestine operation; but larger in scale, with references now made to IMF divisions and additional teams similar to the one run by Phelps. The 1980s series also had IMF agents using technology that nearly pushed the series into the realm of science fiction, such as one gadget that could record dreams.
The tape scene[edit]
Instead of a tape recorder and an envelope of photos, Phelps would be directed by his contacts (usually through brief conversations with ordinary people) to the location of a small optical disc player with a thumbprint scanner built into its lid. After scanning the print, the device would open to reveal a video screen and a 12-button numeric keypad, on which Phelps would type in an access code (usually three digits, i.e. "359" etc.) to retrieve and play the disc, which would show photos related to the mission on-screen. As in the original, the voice would greet him with "Good morning, Jim." The series premiere, "The Killer", used "Welcome back, Jim."; and the series finale, "The Sands of Seth", used "Good afternoon, Jim." As in the original, the voice gave a brief explanation of the mission and its goal with "Your mission, Jim, should you decide to accept it" or words to that effect; and would also warn that "As always, should you or any of your I.M. Force be caught or killed, the Secretary will disavow any knowledge of your actions." The message would end with "This disc will self-destruct in five seconds. Good luck, Jim." At that point, Jim then would close the lid and walk away as smoke began to emit from inside the case to indicate the disc's self-destruction, at which point the camera would freeze and zoom up as the show's logo was revealed and theme song played prior to the apartment scene. As was the case with later seasons of the original series, with the exception of the very first episode the new series did away with the ritual of showing Phelps choosing his team as he consistently used the same personnel week after week, with the occasional addition.
These briefings were read by voice actor Bob Johnson in the original series and the 1988 revival but the identity of the character was never revealed, nor was his face ever shown.
The first season episode "Reprisal" includes a moment unique in Mission: Impossible in which Phelps, for the first time, is shown actually "rewinding" the message and playing back a portion of it before the disc self-destructs. This episode's tape scene - relating to Phelps being informed that an impersonator is killing former IMF agents and framing him for the murders - also includes a rare variant of the tape voice's admonition, this time informing Phelps, "Your mission, which I feel you must accept, will be to find the person who is framing you, and stop him." The rest of the spiel goes as normal. As the message ends and the smoke rises from the case to indicate the disc's self-destruction, the lid can be seen briefly re-opening and sparks and flames shooting out as the camera freezes and zooms up, complete with logo reveal and theme song prior to the apartment scene.
The apartment scene[edit]
The 1980s revival reinstated the "dossier scene" in the first episode when Phelps selected his new team (in keeping with the updated theme of the series, Phelps uses a computer system rather than folders of clippings and documents to make his decision), but since he kept the same team in subsequent episodes no subsequent dossier scenes were made.
The plan[edit]
In the 1980s revival, the mask-making process involved a digital camera and computer and was mostly automatic. Most episodes included a dramatic "reveal" near the end in which the team member would remove the mask.
Variations[edit]
In the 1980s series, former IMF agent Barney Collier was framed for a crime he didn't commit and the IMF team had to rescue him, leading to a reuniting of Barney with his son and IMF agent Grant Collier (in real life played by father-and-son Greg and Phil Morris).
Improvisation[edit]
In contrast to the original series, the 1980s missions often departed from the team's original plan, requiring the team to think on their feet and use their equipment in ways that had not originally been intended.
Conclusion[edit]
In the 1980s revival, this format was altered with the addition of a tag scene showing the IMF team regrouping (often still in disguise) and walking away from the site of their concluded mission, often accompanied by a quip uttered by Jim Phelps. Phelps is first shown uttering said quip in the episode "The Fixer", which was also the first episode featuring Shannon Reed as a full member.
Breaking the formula[edit]
Several episodes break the formula, the most notable being "The Fortune", an episode that aired midway through the first season and featured the death of Terry Markwell's character, Casey Randall. Casey became the first core IMF member to be killed off, and the discovery of her death by Phelps during a mission in progress leads to one IMF member, Max, openly questioning his ability to complete the mission, and Phelps reacting in anger when the culprit is captured (both of which were unprecedented moments for the franchise). "The Fortune" ends with a unique tag scene showing, for the first time, an IMF agent actually being disavowed. "The Fortune" is also the only episode in Mission: Impossible history to be a "changeover" episode as it introduces Casey's successor, Shannon Reed (played by Jane Badler), who helps bring Casey's killer to justice.
Appearances from original IMF veterans[edit]
The revived series included special appearances by several 1960s–1970s IMF veterans, including appearances by Lynda Day George (George's character name Casey was here said to be her surname and she was given the first name Lisa, due to this version's first resident female operative being called Casey[1]) and by Greg Morris as Barney Collier; the character played here by Morris' son, Phil Morris, was Grant Collier, Barney's son.
Revival cast[edit]
Peter Graves as Jim Phelps
Skills: Leadership, disguise, role play, mimicry.
Thaao Penghlis as Nicholas Black
Skills: Actor, makeup/disguise, visual effects, voice impersonation, mimicry.
Antony Hamilton (credited as Tony Hamilton) as Max Harte
Skills: Strength, acting, role play, pilot.
Phil Morris as Grant Collier
Skills: Electronics, computers, sabotage, engineer.
Terry Markwell as Casey Randall (early episodes 1988–1989 season)
Skills: Designer, femme fatale, sharpshooter.
Jane Badler as Shannon Reed (1989–1990)
Skills: Ex-Secret Service Agent, femme fatale, disguise, mimicry, role play.
Bob Johnson as Voice on Disc (voice only)
DVD releases[edit]
CBS DVD (distributed by Paramount) has released the entire series on DVD in Region 1.[2][3]
In Region 2, Revelation Films released Mission: Impossible - The '88 TV Season on July 23, 2012 and The '89 TV Season on October 15, 2012.

DVD Name
Ep #
Release Dates

Region 1
Region 2
The '88 TV Season 19 November 29, 2011 July 23, 2012
The '89 TV Season 16 February 28, 2012 October 15, 2012
See also[edit]

Portal icon Television in the United States portal
Portal icon 1980s portal
Portal icon 1990s portal
Mission: Impossible (Nintendo Entertainment System)



References[edit]
1.Jump up ^ White, Patrick J., The Complete Mission: Impossible Dossier, Avon Books, 1991, p.436
2.Jump up ^ "Mission: Impossible - Peter Graves Returns as Jim Phelps in 'The '88 TV Season' on DVD!". TVShowsOnDVD.com. September 12, 2011.
3.Jump up ^ "Mission: Impossible - Announcement for 'Season 2: The '89 Season' 4-DVD Set". TVShowsOnDVD.com. December 5, 2011.
External links[edit]
Mission: Impossible at the Internet Movie Database (1988 version)


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Mission: Impossible (film)
From Wikipedia, the free encyclopedia
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For other uses, see Mission: Impossible (disambiguation).

Mission: Impossible
MissionImpossiblePoster.jpg
Theatrical release poster

Directed by
Brian De Palma
Produced by
Tom Cruise
 Elias Badra
Paula Wagner
Screenplay by
David Koepp
Robert Towne
Story by
David Koepp
Steven Zaillian
Based on
Mission: Impossible
 by Bruce Geller
Starring
Tom Cruise
Jon Voight
Emmanuelle Béart
Henry Czerny
Jean Reno
Ving Rhames
Kristin Scott Thomas
Vanessa Redgrave
Music by
Danny Elfman
Lalo Schifrin (themes)
Cinematography
Stephen H. Burum
Editing by
Paul Hirsch
Studio
Cruise/Wagner
Distributed by
Paramount Pictures
Release dates
May 22, 1996

Running time
110 minutes
Country
United States
Language
English
Budget
$80 million
Box office
$457,696,359 (worldwide)
Mission: Impossible (also known in the Blu-ray release as M:I) is a 1996 American spy film directed by Brian De Palma, produced by and starring Tom Cruise. Based on the television series of the same name, the plot follows a new agent, Ethan Hunt (Cruise) and his mission to uncover the mole who has framed him for the murders of his entire IMF team. Work on the script had begun early with filmmaker Sydney Pollack on board, before De Palma, Steven Zaillian, David Koepp, and Robert Towne were brought in. Mission: Impossible went into pre-production without a shooting script. De Palma came up with some action sequences, but Koepp and Towne were dissatisfied with the story that led up to those events.
U2 band members Larry Mullen, Jr. and Adam Clayton produced an electronic dance version of the original theme song. The song went into top ten of music charts around the world and was nominated for the Grammy Award for Best Pop Instrumental Performance. The film was the third-highest-grossing of the year and received positive reviews from film critics. The film marked the beginning of a film series, with sequels Mission: Impossible II, III and Ghost Protocol released in 2000, 2006 and 2011, respectively. A fifth film is in development with Cruise reprising his role.[citation needed]


Contents  [hide]
1 Plot
2 Cast
3 Production
4 Reaction 4.1 Original cast
4.2 Box office
4.3 Critical response
5 Music 5.1 Score album
6 References
7 External links

Plot[edit]
Ethan Hunt (Tom Cruise) is part of an Impossible Missions Force (IMF) team led by Jim Phelps (Jon Voight) to prevent the theft of the non-official cover (NOC) list from the American embassy in Prague. The mission goes hopelessly wrong, with several team members killed and the NOC list stolen. Hunt sees Phelps, via Phelps' video glasses, being shot, and Phelps' wife Claire (Emmanuelle Béart) die in a car bomb, leaving him the only living member. Hunt later regroups with IMF director Eugene Kittridge (Henry Czerny) to debrief, but learns that the job was a setup and the NOC list a fake by IMF to lure out a mole within IMF, who IMF believed would sell the NOC list to an arms dealer known as "Max" as part of "Job 314". As Hunt is the only member left, Kittridge suspects him of being the mole, but Hunt creates a distraction to flee before his capture.
Hunt returns to the Prague safehouse and realizes "Job 314" refers to the Bible verse, Job 3:14, with "Job" as an agent of Max. Hunt finds Claire at the safehouse, as she had escaped the car bomb in time and he is able to communicate with Max via online Bible forums, and arranges a meeting. Hunt is taken to Max (Vanessa Redgrave), and warns her the NOC list she possesses has a tracking device that will lure the CIA there, while promising to deliver the real NOC list for $10 million and the identity of Job. Hunt, Max and her agents escape just as the team arrives, and Max gives Hunt an upfront payment for the list.
Hunt recruits two disavowed IMF agents: computer expert Luther Stickell (Ving Rhames) and obsessive pilot Franz Krieger (Jean Reno). The four successfully infiltrate CIA's headquarters in Langley, Virgina and steal the NOC list before fleeing to London, though their theft is detected by Kittridge. Kittridge arranges for Hunt's mother and uncle to be falsely arrested for drug trafficking and provide wide media coverage of it, forcing Hunt to call Kittridge. Hunt times the call to allow the CIA to trace him to London before hanging up, but when he is done, Hunt is surprised to find Phelps nearby.
As Phelps recounts the story of how he survived the shooting, Hunt realizes to himself that Phelps is the likely mole and Max's Job. Hunt also suspects Krieger had killed the other IMF members on the Prague job, but is unsure of Claire's role. Hunt makes arrangements with Max to exchange the NOC list aboard the TGV high-speed train to Paris the next day, while sending tickets to the train to Kittridge.
On the train, Hunt remotely directs Max to the list. Max verifies the list and gives Hunt the keycode to a briefcase containing his payment along with Job in the luggage car. Stickell uses a jamming device to prevent Max from uploading the data to her servers. Meanwhile, Claire moves to the luggage car and finds Phelps there, giving him the code Ethan got for the money and asserting they should take it to frame Hunt. Hunt reveals himself as wearing a Phelps disguise. The real Phelps arrives, and takes the money at gunpoint. Hunt dons a pair of video glasses that relays Phelps' existence to Kittridge, proving Hunt innocent of being Job and the mole.
With his cover blown, Phelps tries to escape with the money; Claire intervenes but Phelps kills her and climbs to the roof of the train, where Krieger is waiting with a helicopter with a tether. Hunt and Phelps fight, and Hunt is able to connect the tether to the train itself, forcing Krieger to pilot the helicopter into Channel Tunnel after the train. Hunt is able to place a piece of explosive chewing gum - a relic of the Prague mission - to destroy the helicopter, killing Phelps and Krieger. Aboard the train, Kittridge arrests Max and recovers the NOC list before it could be sent. Afterwards, Kittridge reinstates Hunt and Stickell as IMF agents, but Hunt resigns. As he flies home, a flight attendant approaches him and asks, through a coded phrase, if he is ready to take on a new mission.
Cast[edit]
Tom Cruise as Ethan Hunt
Jon Voight as Jim Phelps
Emmanuelle Béart as Claire Phelps
Henry Czerny as Eugene Kittridge
Jean Reno as Franz Krieger
Ving Rhames as Luther Stickell
Kristin Scott Thomas as Sarah Davies
Vanessa Redgrave as Max
Ingeborga Dapkūnaitė as Hannah Williams
Emilio Estevez as Jack Harmon (uncredited)
Karel Dobrý as Matthias
Olegar Fedoro as Kiev Agent
Dale Dye as Frank Barnes
Production[edit]
Paramount Pictures owned the rights to the television series and had tried for years to make a film version but had failed to come up with a viable treatment. Tom Cruise had been a fan of the show since he was young and thought that it would be a good idea for a film.[1] The actor chose Mission: Impossible to be the first project of his new production company and convinced Paramount to put up a $70 million budget.[2] Cruise and his producing partner, Paula Wagner, worked on a story with filmmaker Sydney Pollack for a few months when the actor hired Brian De Palma to direct.[3] They went through two screenplay drafts that no one liked. De Palma brought in screenwriters Steve Zaillian, David Koepp, and finally Robert Towne. According to the director, the goal of the script was to "constantly surprise the audience."[3] Reportedly, Koepp was paid $1 million to rewrite an original script by Willard Huyck and Gloria Katz. According to one project source, there were problems with dialogue and story development. However, the basic plot remained intact.[4]
The film went into pre-production without a script that the filmmakers wanted to use.[3] De Palma designed the action sequences but neither Koepp nor Towne were satisfied with the story that would make these sequences take place. Towne ended up helping organize a beginning, middle and end to hang story details on while De Palma and Koepp worked on the plot.[3] De Palma convinced Cruise to set the first act of the film in Prague, a city rarely seen in Hollywood films at the time.[2] Reportedly, studio executives wanted to keep the film's budget in the $40–50 million range, but Cruise wanted a "big, showy action piece" that took the budget up to the $62 million range.[4] The scene that takes place in a glass-walled restaurant with a big lobster tank in the middle and three huge fish tanks overhead was Cruise's idea.[2] There were 16 tons in all of the tanks and there was a concern that when they detonated, a lot of glass would fly around. De Palma tried the sequence with a stuntman, but it did not look convincing and he asked Cruise to do it, despite the possibility that the actor could have drowned.[2]
The script that Cruise approved called for a final showdown to take place on top of a moving train. The actor wanted to use the famously fast French train the TGV[2] but rail authorities did not want any part of the stunt performed on their trains.[3] When that was no longer a problem, the track was not available. De Palma visited railroads on two continents trying to get permission.[3] Cruise took the train owners out to dinner and the next day they were allowed to use it.[2] For the actual sequence, the actor wanted wind that was so powerful that it could knock him off the train. Cruise had difficulty finding the right machine that would create the wind velocity that would look visually accurate before remembering a simulator he used while training as a skydiver. The only machine of its kind in Europe was located and acquired. Cruise had it produce winds up to 140 miles per hour so it would distort his face.[2] Most of the sequence, however, was filmed on a stage against a blue screen for later digitizing by the visual effects team at Industrial Light & Magic.[5]
The filmmakers delivered the film on time and under budget with Cruise doing most of his own stunts.[1] Initially, there was a sophisticated opening sequence that introduced a love triangle between Phelps, his wife and Ethan Hunt that was removed because it took the test audience "out of the genre", according to De Palma.[3] There were rumors that the actor and De Palma did not get along and they were fueled by the director excusing himself at the last moment from scheduled media interviews before the film's theatrical release.[1]
Apple Computer had a $15 million promotion linked to the film that included a game, print ads and television spot featuring scenes from the TV show turned into the feature film; dealer and in-theater promos; and a placement of Apple personal computers in the film. This was an attempt on Apple's part to improve their image after posting a $740 million loss in its fiscal second quarter.[6]
Reaction[edit]
Original cast[edit]
Several cast members of the original 1966–73 TV series reacted negatively to the film.
Actor Greg Morris, who portrayed Barney Collier in the original television series, was reportedly disgusted with the film's treatment of the Phelps character, and he walked out of the theater before the film ended.[7] Peter Graves, who played Jim Phelps in the original series as well as in the late-1980s revival, also disliked how Phelps turned out in the film.[8] Graves had been offered a role playing Phelps, but turned it down when he learned his character was going to be revealed to be a traitor.
Martin Landau, who portrayed Rollin Hand in the original series, expressed his own disgust concerning the film. In an MTV interview in October 2009, Landau stated, "When they were working on an early incarnation of the first one — not the script they ultimately did — they wanted the entire team to be destroyed, done away with one at a time, and I was against that. It was basically an action-adventure movie and not Mission. Mission was a mind game. The ideal mission was getting in and getting out without anyone ever knowing we were there. So the whole texture changed. Why volunteer to essentially have our characters commit suicide? I passed on it." He added, as a condemnation of the writers, "The script wasn't that good either."[9]
Box office[edit]
Mission: Impossible opened on May 22, 1996, in 3,012 theaters—the most ever up to that point—and broke the record for a film opening on Wednesday with US$11.8 million, beating the $11.7 million Terminator 2: Judgment Day made in 1991.[10] The film also set house records in several theaters around the United States.[11] Mission: Impossible grossed $75 million in its first six days, surpassing the previous record holder, Jurassic Park, and took in more than $56 million over the four-day Memorial Day weekend, beating out previous record holder, The Flintstones.[12] Cruise deferred his usual $20 million fee for a significant percentage of the box office.[12] The film went on to make $180.9 million in North America and $276.7 million in the rest of the world for a worldwide total of $457.6 million.[13]
Critical response[edit]
The film has a 61 percent fresh rating on Rotten Tomatoes and a 60 metascore for Metacritic. Chicago Sun-Times film critic Roger Ebert gave the film three out of four stars and wrote, "This is a movie that exists in the instant, and we must exist in the instant to enjoy it."[14] In his review for The New York Times, Stephen Holden addressed the film's convoluted plot: "If that story doesn't make a shred of sense on any number of levels, so what? Neither did the television series, in which basic credibility didn't matter so long as its sci-fi popular mechanics kept up the suspense."[15] USA Today gave the film three out of four stars and said that it was "stylish, brisk but lacking in human dimension despite an attractive cast, the glass is either half-empty or half-full here, though the concoction goes down with ease."[16] However, Hal Hinson, in his review for The Washington Post, wrote, "There are empty thrills, and some suspense. But throughout the film, we keep waiting for some trace of personality, some color in the dialogue, some hipness in the staging or in the characters' attitudes. And it's not there."[17] Time magazine's Richard Schickel wrote, "What is not present in Mission: Impossible (which, aside from the title, sound-track quotations from the theme song and self-destructing assignment tapes, has little to do with the old TV show) is a plot that logically links all these events or characters with any discernible motives beyond surviving the crisis of the moment."[18] Entertainment Weekly gave the film a "B" rating, and Owen Gleiberman wrote, "The problem isn't that the plot is too complicated; it's that each detail is given the exact same nagging emphasis. Intriguing yet mechanistic, jammed with action yet as talky and dense as a physics seminar, the studiously labyrinthine Mission: Impossible grabs your attention without quite tickling your imagination."[19] The film was nominated for a Razzie Award for Worst Written Film Grossing Over $100 Million.
American Film Institute recognition:
AFI's 100 Years...100 Heroes and Villains: Ethan Hunt — Nominated Hero[20]

Music[edit]
Main article: Mission: Impossible (soundtrack)
This film utilizes the original Lalo Schifrin television theme music. However, originally Alan Silvestri was earmarked to do the incidental music and had, in fact, recorded somewhere around 23 minutes of the score. During post-production, due to creative differences, Silvestri's music was rejected and replaced by new music by composer Danny Elfman. Silvestri's music does exist and bootlegs of this have been released on CD. In addition, clips of the film with the original Silvestri score in appropriate places are available on the Internet.[21] According to some sources Silvestri had to quit because of Tom Cruise.[22]
U2 bandmates Larry Mullen, Jr. and Adam Clayton were fans of the TV show and knew the original theme song well, but were nervous about remaking Lalo Schifrin's legendary theme song.[23] Clayton put together his own version in New York City and Mullen did his in Dublin on weekends between U2 recording sessions. The two musicians were influenced by Brian Eno and the European dance club scene sound of the recently finished album Passengers. They allowed Polygram to pick its favorite and they wanted both. In a month, they had two versions of the song and five remixed by DJs. All seven tracks appeared on a limited edition vinyl release.[23]
The song entered the top 10 of music charts around the world, was nominated for the Grammy Award for Best Pop Instrumental Performance in 1997, and was a critical and commercial success.[citation needed]
Score album[edit]
Elfman's score was released on June 28, 1996 by POINT Music. Some of Elfman's cues are also included on the soundtrack album.
1."Sleeping Beauty" – 2:28
2."Mission: Impossible Theme" by Lalo Schifrin – 1:02
3."Red Handed" – 4:21
4."Big Trouble" – 5:33
5."Love Theme?" – 2:21
6."Mole Hunt" – 3:02
7."The Disc" – 1:54
8."Max Found" – 1:02
9."Looking for 'Job'" – 4:38
10."Betrayal" – 2:46
11."The Heist" – 5:46
12."Uh-Oh!" – 1:28
13."Biblical Revelation" – 1:33
14."Phone Home" – 2:25
15."Train Time" – 4:11
16."Menage a Trois" – 2:55
17."Zoom A" – 1:53
18."Zoom B" – 2:54
References[edit]
1.^ Jump up to: a b c Portman, Jamie (May 18, 1996). "Cruise's Mission Accomplished". The Gazette (Montreal). p. E3.
2.^ Jump up to: a b c d e f g Penfield III, Wilder (May 19, 1996). "The Impossible Dream". Toronto Sun. p. S3.
3.^ Jump up to: a b c d e f g Green, Tom (May 22, 1996). "Handling an impossible task A 'Mission' complete with intrigue". USA Today. p. 1D.
4.^ Jump up to: a b Brennan, Judy (December 16, 1995). "Cruise's Mission". Entertainment Weekly.
5.Jump up ^ Wolff, Ellen (May 22, 1996). "Mission Uses Sound of Silence". Variety.
6.Jump up ^ Enrico, Dottie (April 30, 1996). "Apple's mission: Hollywood Computer ads take new turn". USA Today. p. 4B.
7.Jump up ^ 'Mission: Impossible' TV stars disgruntled, CNN, May 29, 1996.
8.Jump up ^ "Interview with Maggie Q". CNN. November 14, 2007.
9.Jump up ^ Martin Landau Discusses 'Mission: Impossible' Movies (blog), MTV, October 29, 2009.
10.Jump up ^ Thomas, Karen (May 24, 1996). "'Mission' is successful, breaks Wednesday record". USA Today. p. 1D.
11.Jump up ^ Hindes, Andrew (May 24, 1996). "Mission Cruises to B.O. Record". Variety. p. 1.
12.^ Jump up to: a b Weinraub, Bernard (May 28, 1996). "Cruise's Thriller Breaking Records". The New York Times. p. 15.
13.Jump up ^ "Mission: Impossible". Box Office Mojo. Retrieved 2008-07-16.
14.Jump up ^ Ebert, Roger (May 31, 1996). "Mission: Impossible". Chicago Sun-Times. Retrieved 2008-07-15.
15.Jump up ^ Holden, Stephen (May 22, 1996). "Mission: Impossible". The New York Times. Retrieved 2008-07-15.
16.Jump up ^ Clark, Mike (May 22, 1996). "Should you decide to accept it, plot works". USA Today. p. 1D.
17.Jump up ^ Hinson, Hal (May 22, 1996). "De Palma's Mission Implausible". The Washington Post. Retrieved 2008-07-15.
18.Jump up ^ Schickel, Richard (May 27, 1996). "Movie: Improbable". Time. Retrieved 2009-05-21.
19.Jump up ^ Gleiberman, Owen (May 31, 1996). "Mission: Impossible". Entertainment Weekly. Retrieved 2009-05-21.
20.Jump up ^ AFI's 100 Years... 100 Heroes and Villains Nominees
21.Jump up ^ "Climactic train scene with the original Alan Silvestri score", YouTube, Google.
22.Jump up ^ Thaxton, Ford A; Larson, Randall D (17 February 2009), "Composer Alan Silvestri Disavowed", Soundtrack Magazine (EU: Run movies) 19 (74).
23.^ Jump up to: a b Gunderson, Edna (May 15, 1996). "U2 members on a 'Mission' remix". USA Today. p. 12D.
External links[edit]
 Wikiquote has a collection of quotations related to: Mission: Impossible
Mission: Impossible at the Internet Movie Database
Mission: Impossible at allmovie
Mission: Impossible at Rotten Tomatoes
Mission: Impossible at Metacritic
Mission: Impossible at Box Office Mojo
Mission: Impossible at The Numbers


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Mission: Impossible II
From Wikipedia, the free encyclopedia
Jump to: navigation, search

For other uses, see Mission: Impossible (disambiguation).

Mission: Impossible II
Mission Impossible II.jpg
Theatrical teaser poster

Directed by
John Woo
Produced by
Tom Cruise
Paula Wagner

Screenplay by
Robert Towne
Story by
Ronald D. Moore
Brannon Braga

Based on
Mission Impossible
 by Bruce Geller
Starring
Tom Cruise
Dougray Scott
Thandie Newton
Ving Rhames
Richard Roxburgh

Music by
Hans Zimmer
Lalo Schifrin (main theme)

Cinematography
Jeffrey L. Kimball
Editing by
Christian Wagner
Steven Kemper
Stuart Baird
Tony Ciccone

Studio
Cruise/Wagner
Munich Film Partners & Company
MI2 Productions

Distributed by
Paramount Pictures
Release dates
May 24, 2000

Running time
123 minutes
Country
United States
 Australia
Language
English
Budget
$125 million[1]
Box office
$546,388,105
Mission: Impossible II (marketed as M:I-2 and in the new Blu-ray release, Mission: Impossible 2) is a 2000 American action spy film directed by John Woo and starring Tom Cruise, who also served as the film's producer. It is the sequel to Brian De Palma's 1996 film Mission: Impossible and has Cruise reprising his role as agent Ethan Hunt of the IMF, a top-secret espionage and clandestine operation agency. The film is the second installment of the Mission: Impossible film series and was followed by Mission: Impossible III (2006) and Mission: Impossible – Ghost Protocol (2011).


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Music
4 Reception 4.1 Box office
4.2 Critical response
5 See also
6 References
7 External links

Plot[edit]
Ethan Hunt (Tom Cruise), while vacationing, is alerted by the IMF that someone has used his identity to assist Russian bio-chemical expert Dr. Vladimir Nekhorvich (Rade Serbedzija) of Biocyte Pharmaceuticals to enter the United States, but purposely crashed the commercial airliner en route. Nekhorvich, an old friend of Ethan, had forewarned the IMF of his arrival, planning to deliver a new virus called Chimera and its cure, Bellerophon, both of which he was forced to develop by Biocyte, into the IMF's hands. With the crash of the plane, IMF is worried that the virus is out in the open, believing that rogue IMF agent Sean Ambrose (Dougray Scott) is behind the incident. IMF assigns Ethan to recover it. Ethan is told that he can use two members of his team to help him, but the third person to help him must be Nyah Nordoff-Hall (Thandie Newton), a professional thief presently operating in Seville, Spain as she will be able to get close to Ambrose, being an ex-girlfriend of his.
After recruiting Nyah, Ethan meets his team, computer expert Luther Stickell (Ving Rhames) and pilot Billy Baird (John Polson) in Sydney, Australia, where Biocyte laboratories are located along with Ambrose's headquarters. As Ethan and the others stake out Biocyte, Nyah gets close to Ambrose and begins to find any information related to the Chimera virus. At a horse racing event, Ambrose quietly meets with Biocyte's CEO, John C. McCloy (Brendan Gleeson), and shows him a video of the Chimera virus affecting one of Nekhorvich's colleagues taken from Biocyte, using the footage to force McCloy to cooperate with them. Nyah is able to steal the video footage long enough to transfer it to Ethan and his team, who learn that the Chimera virus has a 20-hour dormant period before it causes death through mass destruction of the victim's red blood cells. This is depicted through several increasingly graphic pictures, which show the victim dead after 37 hours. Bellerophon can only save the victim if used within the 20-hour window.
The IMF team kidnaps McCloy and learns that Nekhorvich had actually injected himself with Chimera, the only way he could smuggle the virus from Biocyte, and had all the known samples of Bellerophon, now presently in Ambrose's hands. Ambrose has blackmailed McCloy to sell him the virus for £37,000,000 and promising to return the samples of Bellerophon. Ethan's team plans to break into Biocyte and destroy the virus. Ambrose, posing as Ethan, tricks Nyah into revealing Ethan's plan. Ambrose secures Nyah and prepares to raid Biocyte himself to secure the virus. Ethan is able to destroy all but one sample of the virus before Ambrose interrupts him, and an ensuing firefight begins. Ethan learns that Ambrose is holding Nyah and stops firing, during which Ambrose orders Nyah to retrieve the last sample. When she does so, she injects herself with it, thus preventing Ambrose from simply killing her to get it. As Ambrose takes Nyah, Ethan escapes from the laboratory and starts a 20-hour countdown before the virus takes over Nyah's body.
Ambrose opts to let Nyah wander the streets of Sydney in a daze, and orders McCloy to effectively hand over enough control of Biocyte to make him the majority shareholder, or else Nyah's infection will cause a pandemic that will kill 17 million people in Australia alone; Ambrose's plan is to make a fortune when prices of Biocyte's stock skyrocket due to demand for Bellerophon. Ethan's team is able to locate and infiltrate the meeting, stealing the samples of Bellerophon while taking out many of Ambrose's men. Luther and Billy locate Nyah who has wandered to a cliff side, intent on killing herself to prevent Chimera from spreading. As the two IMF agents bring Nyah to Ethan, he and Ambrose engage in a fist fight and wilds out on Ambrose. With little time left on the 20-hour countdown, Ethan finally gains the upper hand over Ambrose and shoots him dead, and then Luther injects Nyah with Bellerophon. Ethan reports to IMF on the successful mission. IMF clears Nyah's criminal record, and allows Ethan to continue his vacation with her in Sydney.
Cast[edit]
Tom Cruise as Ethan Hunt
Dougray Scott as Sean Ambrose
Thandie Newton as Nyah Nordoff-Hall
Ving Rhames as Luther Stickell
Richard Roxburgh as Hugh Stamp
Roland Krönmeyer as Jon Tomson
John Polson as Billy Baird
Brendan Gleeson as John C. McCloy
Anthony Hopkins as Mission Commander Swanbeck (uncredited)
Rade Šerbedžija as Dr. Nekhorvich (as Radé Sherbedgia)
William Mapother as Wallis
Dominic Purcell as Ulrich
Mathew Wilkinson as Michael
Nicholas Bell as Accountant
Cristina Brogers as Flamenco Dancer
Kee Chan as Chemist
Kim Fleming as Larrabee
Sam Jones as Plane Passenger
Tory Mussett (uncredited)
Jeremiah Boogle as Fugiter's Head
Production[edit]
Production on the film was forced to shut down for several weeks while the script was re-worked.[why?][citation needed] As a result both Dougray Scott and Thandie Newton lost the chance to appear in starring roles in other films.[citation needed] Tom Cruise and John Woo had reportedly clashed several times throughout filming over creative differences, but both walked away from it on good terms.[citation needed]
The studio expressed concern over the safety of filming Ethan Hunt's entrance in the film, where he is free solo climbing. Cruise refused to drop the idea because he could not think of a better way to reintroduce the character. There was no safety net as he filmed the sequence, but he did have a harness. He tore his shoulder when performing Hunt's jump from one part of the cliff to another.[2]
The First Trailer to the film was released in November 1999 and was later shown before Pokemon: The First Movie.
Music[edit]
Main articles: Mission: Impossible II (score) and Mission: Impossible II (soundtrack)
The film's original score was composed by Hans Zimmer and features vocals performed by Lisa Gerrard.[3] In addition, the film includes contemporary music such as Limp Bizkit's rendition of Lalo Schifrin's Mission: Impossible theme entitled "Take a Look Around" as well as Metallica's "I Disappear".[4]
Reception[edit]
Box office[edit]
The film was a financial success. In its North American opening weekend the film grossed $57,845,297. The film eventually grossed $215,409,889 in its North American release and $330,978,216 in other territories, totaling $546,388,105 worldwide, the best performance of 2000.[1]
Critical response[edit]
Mission: Impossible II received generally mixed to positive reviews from film critics. Review aggregation website Rotten Tomatoes indicates the film was certified as "Rotten" with overall approval rating of 57% based on 141 reviews, with an average score of 6/10.[5] Metacritic gives the film a weighted average score of 60% based on 33 reviews.[6]
Roger Ebert of the Chicago Sun-Times said that "if the first movie was entertaining as sound, fury, and movement, this one is more evolved, more confident, more sure-footed in the way it marries minimal character development to seamless action."[7] Owen Gleiberman of Entertainment Weekly felt the film was a "throwaway pleasure" but also "a triumph of souped-up action."[8] Ella Taylor of LA Weekly said that "every car chase, every plane crash, every potential drop off a cliff is a masterpiece of grace and surprise."[9] Desson Howe of The Washington Post said that "[John] Woo [...] takes complete command of the latest technology to create brilliant action sequences."[10] Lou Lumenick of the New York Post said, "Check your brains at the popcorn stand and hang on for a spectacular ride."[11]
J. Hoberman of The Village Voice called the film "a vaguely absurd thriller filled with elaborately superfluous setups and shamelessly stale James Bond riffs."[12] Dennis Harvey of Variety said the film is "even more empty a luxury vehicle than its predecessor" and that it "pushes the envelope in terms of just how much flashy packaging an audience will buy when there's absolutely nada inside."[13] Jonathan Rosenbaum of the Chicago Reader said that "no hero or villain winds up carrying any moral weight at all."[14]
Some fans considered Mission: Imposible II as the weakest installment in the series, even though its predecessor received controversy over the fact Jim Phelps from the television series was revealed to be a traitor.[1] While applauding Tom Cruise's performance and the fast-paced action scenes, many criticized the plot, dialogue, little resemblance to its source material and lack of substance. It was nominated for two Golden Raspberry Awards at the 2000 ceremony, including Worst Remake or Sequel and Worst Supporting Actress for Thandie Newton.[15]
The promo title featured on posters for the film Piglet's Big Movie, "P:B:M-1", was a spoof of the promo title "M:I-2" for this film. A teaser trailer included on the DVD spoofed Mission: Impossible II with scenes from Piglet's Big Movie.[citation needed]
A comedy short titled Mission: Improbable was shown during the 2000 MTV Movie Awards. It is a mockumentary of the behind-the-scenes stunts of Mission: Impossible II, and stars Tom Cruise, Ben Stiller and John Woo.
See also[edit]
Mission: Impossible, the television series that served as an inspiration for the film series.
References[edit]
1.^ Jump up to: a b "Mission: Impossible II (2000)". Box Office Mojo. Retrieved July 13, 2011.
2.Jump up ^ "Friday Night with Jonathan Ross: Series 16: Episode 1". BBC iPlayer. January 23, 2009. Retrieved January 24, 2009.
3.Jump up ^ "Filmtracks: Gladiator (Hans Zimmer/Lisa Gerrard)". Filmtracks.com. October 27, 2007. Retrieved February 2, 2013.
4.Jump up ^ "Mission: Impossible 2 [Original Soundtrack]". Allmusic. Retrieved February 2, 2013.
5.Jump up ^ "Mission Impossible 2 (2000)". Rotten Tomatoes. Retrieved July 13, 2011.
6.Jump up ^ "Mission: Impossible II". Metacritic.
7.Jump up ^ Roger Ebert (May 24, 2000). "Mission: Impossible II". Chicago Sun-Times.
8.Jump up ^ "Mission: Impossible 2 (2000)", Owen Gleiberman, June 2, 2000, Entertainment Weekly, Time Inc.
9.Jump up ^ Mission: Impossible II review, Ella Taylor, LA Weekly[dead link]
10.Jump up ^ "'M:I-2': Mission Accomplished", Desson Howe, May 26, 2000, The Washington Post.
11.Jump up ^ Mission: Impossible II review, Lou Lumenick, New York Post.[dead link]
12.Jump up ^ "Smoke and Mirrors", J. Hoberman, May 30, 2000, The Village Voice.
13.Jump up ^ "Mission: Impossible 2", Dennis Harvey, May 23, 2000, Variety.
14.Jump up ^ Mission: Impossible II review, Jonathan Rosenbaum, Chicago Reader
15.Jump up ^ "2000 RAZZIE Nominees & 'Winners'". Golden Raspberry Award Foundation. December 4, 2005. Retrieved 2012-01-01.
External links[edit]
Mission: Impossible II at the Internet Movie Database
Mission: Improbable at the Internet Movie Database
Mission: Impossible II at allmovie
Mission: Impossible II at Box Office Mojo
Mission Impossible 2 at Rotten Tomatoes
Interview with screenwriter Robert Towne


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Categories: 2000 films
English-language films
2000s action thriller films
American action thriller films
American spy films
Australian films
Cruise/Wagner Productions films
Films based on television series
Films directed by John Woo
Films set in Australia
Films set in Spain
Films set in Sydney
Films shot anamorphically
Films shot in Australia
Films shot in Sydney
Films shot in Utah
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Mission: Impossible III
From Wikipedia, the free encyclopedia
Jump to: navigation, search

For other uses, see Mission: Impossible (disambiguation).

Mission: Impossible III
Mission Impossible III.jpg
Theatrical release poster

Directed by
J.J. Abrams
Produced by
Tom Cruise
Paula Wagner
Screenplay by
Alex Kurtzman
Roberto Orci
 J.J. Abrams
Based on
Mission Impossible
 by Bruce Geller
Starring
Tom Cruise
Philip Seymour Hoffman
Ving Rhames
Billy Crudup
Michelle Monaghan
Jonathan Rhys Meyers
Keri Russell
Maggie Q
Laurence Fishburne
Music by
Michael Giacchino
Lalo Schifrin (Themes)
Cinematography
Dan Mindel
Editing by
Maryann Brandon
Mary Jo Markey
Studio
Cruise/Wagner
 MI 3 Film
China Film Co-Production Corporation
 The Fourth Production Company Film Group
China Film Group Corporation
Studio Babelsberg Motion Pictures
Distributed by
Paramount Pictures
Release dates
May 5, 2006 (US)

Running time
125 minutes
Country
United States
Language
English
Budget
$150 million[1]
Box office
$397,850,012 (worldwide)
Mission: Impossible III (marketed as M:i:III, M:I-3, or Mission: Impossible 3) is a 2006 American action spy film co-written and directed by J.J. Abrams, his first film as a director, starring Tom Cruise, who also served as a producer, in the role of IMF agent Ethan Hunt. The film was first released on April 26, 2006, at the Tribeca Film Festival, and widely released in the United States on May 5, 2006. The film was a box office success, and it received mostly positive critical reviews.[2] The film is the third installment of the Mission: Impossible film series and was preceded by Mission: Impossible II (2000) and followed by Mission: Impossible – Ghost Protocol (2011).


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Development
3.2 Filming
3.3 Music
4 Distribution 4.1 Marketing
4.2 "Trapped in the Closet" controversy
5 Reaction 5.1 Box office
5.2 Critical response
6 See also
7 References
8 External links

Plot[edit]
Ethan Hunt (Tom Cruise) has retired from active field work for the Impossible Missions Force (IMF) and instead trains new recruits while settling down with his fiancée Julia Meade (Michelle Monaghan), a nurse at a local hospital who is unaware of Ethan's past. Ethan is approached by fellow IMF agent John Musgrave (Billy Crudup) about a mission for him: rescue one of Ethan's protégés, Lindsey Farris (Keri Russell), who was captured while investigating arms dealer Owen Davian (Philip Seymour Hoffman). Musgrave has already prepared a team for Ethan, consisting of Declan Gormley (Jonathan Rhys Meyers), Zhen Lei (Maggie Q), and his old partner Luther Stickell (Ving Rhames), in Berlin, Germany.
The team raids the warehouse where Lindsey is kept and collects two computer laptops during their escape. As they flee on a helicopter, Ethan discovers a micro-explosive implanted in Lindsey's head. Before Ethan can use a defibrillator to disable the device, it kills her. Ethan and Musgrave are reprimanded by IMF director Theodore Brassel (Laurence Fishburne). Ethan learns that Lindsey mailed him a postcard before her capture, and discovers a magnetic microdot under the stamp.
IMF technician Benji Dunn (Simon Pegg) recovers enough from the damaged laptops to determine that Davian will be in Vatican City to obtain a mysterious object called the "Rabbit's Foot". Ethan plans the mission to capture Davian without seeking Brassel's or Musgrave's approval. Before leaving, he and Julia have an impromptu wedding at the hospital's chapel. The team successfully infiltrates Vatican City and captures Davian.
On the flight back to the United States, Davian threatens to kill Ethan and his loved ones. Ethan then threatens to drop Davian out of the plane (during which Davian overhears Luther calling Ethan by his first name). After landing, Ethan learns that the microdot contains a video of Lindsey warning that she believes Brassel is working with Davian. Then the convoy taking Davian across the Chesapeake Bay Bridge-Tunnel is suddenly attacked, and Davian escapes. Ethan worries for Julia's safety and races to the hospital, arriving to find that she already has been taken. Davian calls Ethan to give him 48 hours to recover the Rabbit's Foot for Julia's life, but then Ethan is captured by IMF for his rogue actions.
Musgrave takes part in Ethan's interrogation, but discreetly mouths instructions for Ethan to lip-read about Shanghai, China where the Rabbit's Foot is located, and provides him with the means to escape IMF. Ethan and his team raid the building where the Rabbit's Foot is secured, and inform Davian that they have the Rabbit's Foot. Ethan goes to deliver the Rabbit's Foot alone, and is forced to take a tranquilizer. While he is sedated, a micro-explosive is implanted in his head. Ethan awakens to find Davian apparently holding Julia at gunpoint (the full scene opens the movie). Despite Ethan asserting that he brought the real Rabbit's Foot, Davian apparently kills Julia and leaves.
Musgrave then arrives and explains to Ethan that the woman killed by Davian was not the real Julia, but Davian's head of security (Bahar Soomekh) in a mask — the execution carried out for failing to protect Davian in Vatican City, and the mask was used in order to force Ethan to confirm the authenticity of the Rabbit's Foot — and that the real Julia is alive. Musgrave reveals himself as the mole, having arranged for Davian to acquire the Rabbit's Foot to sell to terrorist groups, after which IMF would have reason to launch a preemptive strike. Musgrave then asks Ethan about the microdot Lindsey sent. Musgrave dials his phone for Ethan to hear Julia's voice. Ethan then bites on Musgrave's hand and knocks him unconscious, ultimately freeing himself and stealing Musgrave's phone, using it to track down the location of Musgrave's last call. Ethan finds Davian there and pushes him into the path of a truck, but not before Davian triggers the micro-explosive. Freeing Julia, he instructs her to electrocute him in order to deactivate the explosive, and then revive him. He also instructs her in using a gun for her protection. While attempting to revive Ethan, Julia shoots and kills Musgrave. Julia successfully revives Ethan, and he explains his true IMF career to her as they leave.
Brassel congratulates Ethan as he leaves for his honeymoon with Julia. Ethan is unsure if he will return to the IMF. Brassel promises that he will tell Ethan what the Rabbit's Foot is if Ethan will promise to return. Ethan smiles and walks off with Julia.
Cast[edit]
Tom Cruise as Ethan Hunt
Philip Seymour Hoffman as Owen Davian, the most infamous black market dealer
Ving Rhames as Luther Stickell, member of Ethan's team
Billy Crudup as John Musgrave, IMF Operations Director
Michelle Monaghan as Julia "Jules" Meade, Ethan's fiancée/wife
Keri Russell as Lindsey Farris, IMF agent trained by Ethan
Jonathan Rhys Meyers as Declan Gormley, member of Ethan's team
Maggie Q as Zhen Lei, member of Ethan's team
Simon Pegg as Benji Dunn, IMF Technician
Eddie Marsan as Brownway, Davian's henchman
Laurence Fishburne as Theodore Brassel, head of the IMF
Bellamy Young as Rachael
Jeff Chase as Davian's Bodyguard
Erin Cahill as Elisa, Davian's henchwoman
Bahar Soomekh as Davian's Translator
George Cheung as Shanghai Game Player (uncredited)
Ty Williams as Thug (uncredited)
Sasha Alexander as Melissa Meade
Aaron Paul as Rick Meade
Production[edit]
Development[edit]



"I think the problem with third movies is the people who are financing them are experts on how they should be made and what they should be. At that point, when you own a franchise like that, you want to get rid of any extraneous opinions."
—David Fincher, on contributing to a film series[3]
In 2002, director David Fincher was slated to direct the next installment of the Mission: Impossible film series for a summer of 2004 release date.[4] Fincher, however, dropped out in favor of another film,[5] later citing creative differences over the direction of the series.[3] Replacing Fincher was director Joe Carnahan, who worked on developing the film for 15 months.[6] Under his involvement, the film was to feature "Kenneth Branagh playing a guy who's based on Timothy McVeigh," as well as Carrie-Anne Moss and Scarlett Johansson in other roles.[7] Thandie Newton was offered to reprise her role as Nyah Nordoff-Hall from Mission Impossible II she declined however.
After a dispute over the film's tone, Carnahan quit in July 2004.[5] Tom Cruise then called J.J. Abrams, offering the directorial role for the film after having binge-watched the first two seasons of Alias.[8] Abrams ultimately signed on, with production delayed a year due to his contractual obligations with Alias and Lost.[9] During this time, Branagh, Moss, and Johansson departed from the project because of the many delays in production.[5][10] On June 8, 2005, Paramount Pictures gave the film the green-light after a new cast of actors was hired and the film's budget was redeveloped, with Cruise taking a major pay cut.[10]
Filming[edit]
Principal photography began in Rome, Italy on July 18, 2005 and ended in October. Location filming took place in China (Shanghai and Xitang), Germany (Berlin), Italy (Rome and Caserta), the United States (California and Virginia), and Vatican City. The night scenes involving the skyscrapers were filmed in Shanghai, while some of the Shanghai filming was also done in Los Angeles.[8]
Music[edit]
Main article: Mission: Impossible III (album)
The film's musical score was composed by Michael Giacchino. He is the third composer to take on the series, following Danny Elfman and Hans Zimmer. The score album was released on May 9, 2006 by Varèse Sarabande Records. Unlike the previous installments, no soundtrack album featuring the film's contemporary music was released. Despite this, the film features a song by Kanye West entitled "Impossible" that also features Twista and Keyshia Cole.[11]
Distribution[edit]
Marketing[edit]
To promote the film, Paramount rigged 4,500 randomly selected Los Angeles Times vending boxes with digital audio players which would play the theme song when the door was opened. The audio players did not always stay concealed, and in many cases came loose and fell on top of the stack of newspapers in plain view, with the result that they were widely mistaken for bombs. Police bomb squads detonated a number of the vending boxes and even temporarily shut down a veterans hospital in response to the apparent "threat". Despite these problems, Paramount and the Los Angeles Times opted to leave the audio players in the boxes until two days after the movie's opening.[12]
"Trapped in the Closet" controversy[edit]
Main article: Trapped in the Closet (South Park)
A blog entry of Hollywoodinterrupted.com in March 2006 alleged that Viacom (parent of Paramount and Comedy Central) canceled the rebroadcast of the South Park episode "Trapped in the Closet" due to threats by Cruise to refuse to participate in the Mission: Impossible III publicity circle.[13][14] These assertions were soon also reported by E! News and American Morning.[14][15] Fox News attributed threats from Tom Cruise, stating, "to back out of his Mission: Impossible III promotional duties if Viacom didn't pull a repeat of the episode", as evidence of "bad blood" between Cruise and Viacom.[16] The Washington Post reported that South Park fans "struck back", in March 2006, and threatened to boycott Mission: Impossible III until Comedy Central put "Trapped in the Closet" back on its schedule.[17] Melissa McNamara of CBS News later questioned whether this boycott hurt the Mission: Impossible III box office debut.[18] Even political blogger Andrew Sullivan encouraged a boycott of the movie, based on claims that Cruise allegedly forced Comedy Central to censor a South Park episode about Scientologists. "Make sure you don't go see Paramount's Mission: Impossible III, Cruise's upcoming movie," Sullivan wrote. "I know you weren't going to see it anyway. But now any money you spend on this movie is a blow against freedom of speech. Boycott it. Tell your friends to boycott it."[19]
When asked in ABC's Primetime about his involvement with stopping the episode rebroadcast on Comedy Central, Cruise stated "First of all, could you ever imagine sitting down with anyone? I would never sit down with someone and question them on their beliefs. Here's the thing: I'm really not even going to dignify this. I honestly didn't really even know about it. I'm working, making my movie, I've got my family. I'm busy. I don't spend my days going, 'What are people saying about me?'"[20] A representative of Cruise had also denied any involvement of Cruise with the issue, specifically responding to allegations of Cruise's reputed corporate power play.[21]
Reaction[edit]
Box office[edit]


Opening in 4,054 theaters all across the United States,[22] the fourth largest opening ever up to that point,[23] the film topped the box-office in its opening weekend. It made $16.6 million on its opening day and $47.7 million in its opening weekend,[22] a solid opening yet almost $10 million lower than the franchise's previous installment.[24] The film remained at number one with $25 million during its second weekend, ahead of Poseidon's gross of $22.2 million.[22] The movie remained in the Top 10 at the box office for the remainder of its first six weeks of release.[22] Mission: Impossible III ended its initial domestic run on July 20, 2006, taking in a total of $134 million.[22] It was the second movie in 2006 to pass the $100,000,000 mark in the box office, following Ice Age: The Meltdown.[citation needed] The $134 million domestic run was significantly lower than that of Mission Impossible II,[22] as well as box office analysts' expectations.[who?][citation needed]
Outside of the USA, the sequel grossed $70 million for the first five days (in some Asian countries, Mission: Impossible III opened two days ahead of its North American release date) and was easily the box-office champion in many countries.[22] As of February 11, 2007, M:I-III's international box office gross has reached $263.8 million, for a combined worldwide gross of $397.9 million, the lowest so far of the series.[22]
In the Netherlands, the film debuted in the week of May 4–10 at No. 1, grossing a total of € 532,384 in that week. The following week, the film remained on the top position. In its third week, the film dropped to No. 2 and the following week, fell to No. 4. Next it maintained the No. 4 position to drop to No. 6 (in the week of June 6 - June 14). In total, the film has grossed over € 2,141,162.[25]
Critical response[edit]
 Mission: Impossible III received positive reviews from critics. The film holds a 70% "Fresh" rating at Rotten Tomatoes, with an average of 6.6, based on 218 reviews, the second best rating of the four films.[26] It holds a similar rating on Metacritic, with an average score of 66/100, indicating "generally favorable reviews", based on a normalized average of 38 reviews.[2]
On the television show Ebert & Roeper, Richard Roeper gave Mission: Impossible III a "thumbs up", while Roger Ebert gave it a marginal "thumbs down".[27] In Ebert's print review, he gave the film a score of two and a half stars (out of four), saying: "Either you want to see mindless action and computer-generated sequences executed with breakneck speed and technical precision, or you do not. I am getting to the point where I don't much care." He felt "surprised that the plot hangs together more than in the other two films."[28]
Keith Phipps of The Onion's A.V. Club said the film is "business as usual, but it's the best kind of business as usual, and it finds everyone working in top form."[29] Owen Gleiberman of Entertainment Weekly called Mission: Impossible III "a gratifyingly clever, booby-trapped thriller that has enough fun and imagination and dash to more than justify its existence."[30] Marc Savlov of The Austin Chronicle said that "it's all poppycock, of course, but it's done with such vim and vigor and both narrative and visual flair that you care not a jot."[31] James Berardinelli of ReelViews gave the film a score of two and a half stars (out of four), saying that it "provides lots of action, but too little excitement."[32]
Ian Nathan of Empire said that Mission: Impossible III has "an inspired middle-hour pumped by some solid action" but added that "we now live in a post-Bourne, recalibrated-Bond universe, where Ethan Hunt looks a bit lost."[33] Manohla Dargis of The New York Times said that "Hoffman enlivens Mission: Impossible III" but criticized the film's "maudlin romance" and "Abrams's inability to adapt his small-screen talent to a larger canvas."[34] Rob Nelson of the Dallas Observer said that "Abrams's movie is too oppressive, too enamored of its brutality to deliver anything like real thrills; its deeply unpleasant tone nearly makes you long even for [Mission: Impossible II director John] Woo's cartoon absurdities."[35]
Claudia Puig of USA Today said that "Mission: Impossible III delivers" despite "a sense that the franchise is played out and its star over-exposed."[36] Maitland McDonagh of TV Guide described the film as "breezy, undemanding, and a carefully balanced blend of the familiar and the not-quite-what-you-expected."[37] Lawrence Toppman of The Charlotte Observer said that Mission: Impossible III is "plenty of fun" despite being "overwrought and overplotted."[38]
Pete Vonder Haar of Film Threat said that "you may be mildly entertained, but damned if you'll remember any of it five minutes later."[39] Stephanie Zacharek of Salon.com said that "Cruise is the single bright, blinking emblem of the failure of Mission: Impossible III."[40] William Arnold of the Seattle Post-Intelligencer remarked that "the latest [Mission: Impossible film] is just this side of insultingly stupid."[41] Shawn Levy of The Oregonian said that Mission: Impossible III "feels like one of the more forgettable James Bond films—saddled, moreover, with a star who's sliding into self-parody."[42]
See also[edit]
Mission: Impossible, the television series that served as an inspiration for the film series.
References[edit]
1.Jump up ^ Snyder, Gabriel (March 12, 2006). "Summer survey". Variety. Retrieved August 19, 2010.
2.^ Jump up to: a b Mission: Impossible III, Metacritic.
3.^ Jump up to: a b Horowitz, Josh (January 7, 2008). "David Fincher Discusses Reunion With Brad Pitt, Possible 'Fight Club' Musical". MTV News. Retrieved February 5, 2013.
4.Jump up ^ "Fincher in frame for Mission: Impossible 3". The Guardian. April 12, 2002. Retrieved February 5, 2013.
5.^ Jump up to: a b c "Scarlett Aborts "Mission"". E! Online. May 9, 2005.
6.Jump up ^ Davis, Erik (February 4, 2013). "Watch: Joe Carnahan on Hollywood A-Holes, Ugly Budgets and Filming Himself Quitting 'Mission: Impossible III'". Movies.com. Retrieved February 5, 2013.
7.Jump up ^ "Joe Carnahan: "My 'Mission: Impossible' Was Better"". Hollywood.com. April 4, 2007. Retrieved February 5, 2013.
8.^ Jump up to: a b The Making of the Mission (DVD). Paramount Home Entertainment. 2006.
9.Jump up ^ Foreman, Liza (August 12, 2004). "Cruise halts ‘Mission 3’ for Spielberg film". NBC News. Retrieved February 5, 2013.
10.^ Jump up to: a b Susman, Gary (June 8, 2005). "War of the Wallets". Entertainment Weekly. Retrieved February 5, 2013.
11.Jump up ^ "Kanye West's Mission Impossible". IGN. February 8, 2006. Retrieved February 5, 2013.
12.Jump up ^ "Mission Illogical: Movie Promotion Puts Lives 'at Risk'". May 5, 2006.
13.Jump up ^ Ebner, Mark (March 16, 2006). "Scientologist Tom Cruise Blackmails Viacom into Pulling the "Trapped in the Closet" Episode of South Park". Hollywood, Interrupted.
14.^ Jump up to: a b Ryan, Joel (13 March 2006). ""The Closet," the Controversy--and Cruise". E! Online. Retrieved 2007-06-16.[dead link]
15.Jump up ^ O'Brien, Soledad; John Roberts (March 21, 2006). "Storms Blanket Midwest; Insurgents Launch Full-Scale Attack on Iraqi Police". American Morning. Retrieved 2007-10-21.
16.Jump up ^ Friedman, Roger (August 23, 2006). "Cruise Ambushed by 'Broke' Studio?". Fox News Channel.
17.Jump up ^ de Moraes, Lisa (March 23, 2006). "'South Park' Responds: Chef's Goose Is Cooked". The Washington Post. p. C07.
18.Jump up ^ McNamara, Melissa (May 10, 2006). "Did Bloggers Doom 'M:i:III'?". CBS News. Retrieved 2007-10-21.
19.Jump up ^ http://andrewsullivan.thedailybeast.com/2006/03/cruise_control.html
20.Jump up ^ "Cruise: 'No Oprah Regrets'". hollywood.com. 2006-04-16. Retrieved 2007-06-16.
21.Jump up ^ Nathan, Sara (2006-03-17). "Cruise axe for South Park". The Sun (London). Retrieved 2006-11-04.[dead link]
22.^ Jump up to: a b c d e f g h Mission: Impossible III at Box Office Mojo Retrieved on 2010-01-01.
23.Jump up ^ "Movies With the Widest Openings at the Box Office". Box Office Mojo. Retrieved 2012-09-25.
24.Jump up ^ "Mission: Impossible Movies Opening Weekends". Box Office Mojo. Retrieved February 4, 2013.
25.Jump up ^ "Business Data for Mission: Impossible III". Internet Movie Database. Retrieved 2007-02-04.
26.Jump up ^ "Mission: Impossible III". Rotten Tomatoes. Retrieved 2007-02-04.
27.Jump up ^ "Ebert & Roeper, Reviews for the Weekend of May 6–7, 2006". Retrieved 2007-02-04.
28.Jump up ^ Roger Ebert (May 4, 2006). "Mission: Impossible III review". Chicago Sun-Times.
29.Jump up ^ Mission: Impossible III review, Keith Phipps, The A.V. Club, May 3, 2006
30.Jump up ^ Mission: Impossible III review, Owen Gleiberman, Entertainment Weekly.
31.Jump up ^ Mission: Impossible III review, Marc Savlov, The Austin Chronicle.
32.Jump up ^ Mission: Impossible III review, James Berardinelli, ReelViews.
33.Jump up ^ Mission: Impossible III review, Ian Nathan, Empire.
34.Jump up ^ Mission: Impossible III review, Manohla Dargis, The New York Times.
35.Jump up ^ Mission: Impossible III review, Rob Nelson, Dallas Observer.
36.Jump up ^ Mission: Impossible III review, Claudia Puig, USA Today.
37.Jump up ^ Mission: Impossible III review, Maitland McDonagh, TV Guide
38.Jump up ^ Mission: Impossible III review, Lawrence Toppman, The Charlotte Observer.
39.Jump up ^ Mission: Impossible III review, Pete Vonder Haar, Film Threat
40.Jump up ^ Mission: Impossible III review, Stephanie Zacharek, Salon
41.Jump up ^ Mission: Impossible III review, William Arnold, Seattle Post-Intelligencer.
42.Jump up ^ Mission: Impossible III review, Shawn Levy, The Oregonian.
External links[edit]
 Wikiquote has a collection of quotations related to: Mission: Impossible III
Official website
Mission: Impossible III at the Internet Movie Database
Mission: Impossible III at allmovie
Mission Impossible III, About The Locations And Production Design


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Mission: Impossible – Ghost Protocol
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Mission: Impossible
 Ghost Protocol
Mission impossible ghost protocol.jpg
Theatrical release poster

Directed by
Brad Bird
Produced by
Tom Cruise
J. J. Abrams
Bryan Burk
Screenplay by
André Nemec
Josh Appelbaum
Based on
Mission: Impossible
 by Bruce Geller
Starring
Tom Cruise
Jeremy Renner
Simon Pegg
Paula Patton
Anil Kapoor
Music by
Michael Giacchino
Cinematography
Robert Elswit
Editing by
Paul Hirsch
Studio
Skydance Productions
Bad Robot Productions
TC Productions
 FilmWorks
 Stillking Productions
Distributed by
Paramount Pictures
Release dates
December 7, 2011 (Dubai premiere)
December 15, 2011 (United States, limited)

Running time
132 minutes[1]
Country
United States
Language
English
Budget
$145 million[2]
Box office
$694,713,380[2]
Mission: Impossible – Ghost Protocol (also known as Mission: Impossible IV) is a 2011 American action film. It is the fourth film in the Mission: Impossible series. It stars Tom Cruise, who reprises his role of IMF Agent Ethan Hunt, and is director Brad Bird's first live-action film.[3] Ghost Protocol was written by André Nemec and Josh Appelbaum, and produced by Cruise, J. J. Abrams (the third film's director) and Bryan Burk. It saw the return of the first film's editor, Paul Hirsch, and is also the first Mission: Impossible film to be partially filmed using IMAX cameras. The film was released in North America by Paramount Pictures on December 16, 2011.
Upon release, Mission: Impossible – Ghost Protocol became a critical and commercial success, becoming the highest-grossing Mission: Impossible film,[4] and the highest-grossing film starring Tom Cruise.[5][6][7]


Contents  [hide]
1 Plot
2 Cast
3 Production
4 Soundtrack 4.1 Track listing
5 Distribution 5.1 Marketing
5.2 Theatrical release
5.3 Home media
6 Reaction 6.1 Critical response
6.2 Box office
6.3 Accolades
7 Sequel
8 See also
9 References
10 External links

Plot[edit]
In Budapest to intercept a courier working for a person code-named "Cobalt", IMF agent Trevor Hanaway is killed by assassin Sabine Moreau. Hanaway's team leader, Jane Carter, and newly promoted field agent Benji Dunn extract Ethan Hunt and Ethan's source, Bogdan, from a Moscow prison. Ethan is recruited to lead Jane and Benji to infiltrate secret Moscow Kremlin archives and locate files identifying Cobalt. During the mission, someone broadcasts across the IMF frequency, alerting the Russians to Ethan's team. Although Benji and Jane escape, a bomb destroys the Kremlin and Russian agent Sidorov arrests Ethan, suspecting him as a key player in the attack.
The IMF extracts Ethan from Moscow. The Russians have called the attack an undeclared act of war, and the U.S. President activates "Ghost Protocol", a black operation contingency that disavows the IMF. Ethan and his team are to take the blame for the attack but will be allowed to escape from government custody in order to track down Cobalt. Before Ethan can escape, the IMF Secretary is killed by Russian security forces led by Sidorov, leaving Hunt and intelligence analyst William Brandt to find their own way out. Brandt identifies Cobalt as Kurt Hendricks, a Swedish-born Russian nuclear strategist who plans to start a nuclear war. Hendricks bombed the Kremlin in order to acquire a Russian nuclear launch-control device; however, he now needs the activation codes from the Budapest courier in order to launch nuclear missiles at the United States.
The exchange between Moreau and Hendricks' right-hand man, Wistrom, is due to take place at the Burj Khalifa in Dubai. There, Ethan's team members separately convince Moreau and Wistrom that they have made the exchange with one another. However, Moreau identifies Brandt as an agent. While Ethan chases Wistrom—only to realize that Wistrom is actually Hendricks in disguise, escaping with the codes—Jane detains Moreau. Moreau attempts to kill the inexperienced Benji, and Jane kicks her out a window to her death. Brandt accuses Jane of compromising the mission for revenge against Moreau, but Ethan accuses Brandt of keeping secrets from them, as he has demonstrated skills decidedly atypical of a mere analyst. While Ethan seeks more information from Bogdan, Brandt confides to Benji and Jane that he was assigned as security detail to Ethan and his wife Julia while they were on vacation in Croatia. While Brandt was on patrol, Julia was killed by a Serbian hit squad, prompting Ethan to pursue and kill them before he was caught by the Russians and sent to prison.
Bogdan and his arms-dealer cousin inform Ethan that Hendricks will be in Mumbai. The arms dealer facilitated the sale of a defunct Soviet military satellite to Indian telecommunications entrepreneur Brij Nath. The satellite could be used to transmit the launch codes for nuclear-tipped missiles. While Brandt and Benji infiltrate the server room to deactivate the satellite, Carter gets Nath to reveal the satellite override code. But Hendricks has anticipated Ethan's plan and infects Nath's servers with a virus before sending a signal from a television broadcasting tower to a Russian Delta III-class nuclear submarine in the Pacific to fire at San Francisco. Ethan pursues Hendricks and the launch device while the other team-members attempt to bring the broadcast station back online. Ethan and Hendricks fight over the launch-control device before Hendricks jumps to his death with it to ensure success. Benji kills Wistrom, allowing Brandt to restore power to the station and enabling Ethan to deactivate the missile, while the fatally wounded Hendricks witnesses the failure of his plan as he dies. Sidorov happens upon the scene in time to see what Ethan has done and realizes that the IMF is innocent of bombing the Kremlin.
The team reconvenes weeks later in Seattle with Ethan meeting up with Luther Stickell and accepting a new mission. Brandt refuses at first and confesses to Ethan about being assigned to protect Julia and failing. However, Ethan reveals that both Julia's death and the murder of Serbians were actually faked in order to infiltrate the Moscow prison while protecting Julia, a relieved Brandt accepts the mission. Julia is then shown alive and smiles at Ethan from far away.
Cast[edit]
Tom Cruise as Ethan Hunt, the IMF team's leader.
Simon Pegg as Benji Dunn, an IMF technical field agent and part of Hunt's team.
Jeremy Renner as William Brandt, the IMF Secretary's chief analyst and a former IMF field agent.
Paula Patton as Jane Carter, a member of Hunt's team.
Michael Nyqvist as Kurt Hendricks, also known as "Cobalt", a Swedish nuclear strategist.
Vladimir Mashkov as Anatoly Sidorov, a Russian intelligence operative following Hunt and his team.
Samuli Edelmann as Marius Wistrom, Hendricks' right-hand man[8]
Ivan Shvedoff as Leonid Lisenker, a nuclear code expert who is forced to work with Hendricks.
Anil Kapoor as Brij Nath, a rich Indian businessman.
Léa Seydoux as Sabine Moreau, a French assassin for hire.
Josh Holloway as Trevor Hanaway, an IMF agent.
Pavel Kříž as Marek Stefanski
Miraj Grbić as Bogdan, a Russian prisoner freed by Hunt.
Ilia Volok as the Fog, an arms dealer and Bogdan's cousin.
Tom Wilkinson (uncredited) as the IMF Secretary
Ving Rhames (uncredited cameo) as Luther Stickell, Hunt's colleague.
Michelle Monaghan (uncredited cameo) as Julia Meade, Hunt's wife.[9]
Lavell Crawford (cameo) as Julia's Bodyguard
Mike Dopud as a Kremlin sub-cellar hallway guard
Ivo Novák as a Russian agent
Brian Caspe as a British News anchor
April Stewart as a Swedish translator
Nicola Anderson as Julia's friend
Production[edit]
"When we were first looking at the image of Tom climbing the Burj, in the long shots we could not only see the traffic in the reflections when he presses down on the glass... But you actually saw the glass warp slightly because of the pressure of his hand. You would never see that in 35mm. The fact that the screen fills your vision and is super sharp seems more life-like."
 —Brad Bird describing the advantages of filming in the IMAX format.[10]
The film was originally announced with a working name of Mission: Impossible 4 and codenamed "Aries" during early production.[11] By August 2010, title considerations did not include the Mission: Impossible 4 name, and thought was given to omitting the specific term "Mission: Impossible", which Variety compared to Christopher Nolan's Batman sequel film The Dark Knight.[12]
The film was partially shot with IMAX cameras, which made up approximately 30 minutes of the film's run time.[13][14] Bird insisted that certain scenes of the film be shot in IMAX, as opposed to 3D, as he felt that the IMAX format offered the viewer more immersion due to its brighter, higher quality image, which is projected on a larger screen, without the need for specialised glasses.[15] Bird also believed that the IMAX format would bring back "a level of showmanship" to the presentation of Hollywood films, which he believes the industry has lost due to its emphasis on screening films in multiplexes as opposed to grand theaters, and vetoing "first runs" in favor of wider initial releases.[15]
Principal photography took place from October 2010 to March 2011.[16] Filming took place in Mumbai, Prague, Moscow, Vancouver, Bangalore and Dubai.[17][18][19] Tom Cruise performed a sequence where Ethan Hunt scales the outside of the Burj Khalifa tower, which is the world's tallest building, without the use of a stunt double.[20] Although Cruise appears to be free solo climbing in the film with the help of special gloves, in reality, he was securely attached to the Burj Khalifa at all times by multiple cables.[16] Industrial Light & Magic digitally erased the cables in post-production. Following Cruise's example, Patton and Seydoux also chose to forgo the use of stunt doubles for their fight scene at the Burj Khalifa where Carter exacts her revenge upon Moreau for Hanaway's death.[16]
Many of the film's interior scenes were shot at Vancouver's Canadian Motion Picture Park, including a key transition scene in a specially equipped IMF train car and the fight between Hunt and Hendricks in a Mumbai automated multi-level parking garage (which was constructed over a six-month period just for the film).[16] The film's climax scene was shot with Indian film actor Anil Kapoor in the Sun Network office in Bangalore.[citation needed][21] Also, the film's opening Moscow prison escape scenes were shot on location in a real former prison near Prague.[16] The film also features a BMW i8 concept car.[22][23][24]
Bird, having directed several Disney and Pixar films and short films, incorporated the trademark "A113" into the movie on two separate occasions. The first is the design print on Agent Hanaway's ring during the flashback sequence, and the second being when Hunt calls in for support and uses the drop callsign, Alpha 1-1-3.
Soundtrack[edit]

Mission: Impossible – Ghost Protocol: Music from the Motion Picture

Soundtrack album by Michael Giacchino

Released
January 10, 2012
Genre
Film score
Label
Varèse Sarabande
Producer
Michael Giacchino
Michael Giacchino chronology

Monte Carlo
 (2011) Ghost Protocol
 (2011) John Carter
 (2012)


Mission: Impossible chronology

Mission: Impossible III
 (2006) Ghost Protocol
 (2011) 

The film's score was composed by Michael Giacchino, his second for the franchise and his third collaboration with Bird following The Incredibles and Ratatouille. The soundtrack was released by Varèse Sarabande on January 10, 2012.[25]
Track listing[edit]
All music composed by Michael Giacchino.

No.
Title
Length

1. "Give Her My Budapest"   1:57
2. "Light the Fuse One" (Contains Mission: Impossible Theme by Lalo Schifrin) 2:01
3. "Knife to a Gun Fight"   3:42
4. "In Russia, Phone Dials You" (Contains Mission: Impossible Theme and "The Plot" by Lalo Schifrin) 1:40
5. "Kremlin with Anticipation" (Contains Mission: Impossible Theme and "The Plot" by Lalo Schifrin) 4:12
6. "From Russia with Love" (Contains Mission: Impossible Theme by Lalo Schifrin) 3:37
7. "Ghost Protocol" (Contains Mission: Impossible Theme by Lalo Schifrin) 4:58
8. "Railcar Rundown" (Contains Mission: Impossible Theme by Lalo Schifrin) 1:11
9. "Hendricks' Manifesto" (Contains Mission: Impossible Theme by Lalo Schifrin) 3:17
10. "A Man, A Plan, A Code, Dubai" (Contains Mission: Impossible Theme by Lalo Schifrin) 2:44
11. "Love the Glove" (Contains Mission: Impossible Theme by Lalo Schifrin) 3:44
12. "The Express Elevator" (Contains Mission: Impossible Theme by Lalo Schifrin) 2:31
13. "Mission Impersonatable"   3:55
14. "Moreau Trouble Than She's Worth"   6:44
15. "Out for a Run"   3:54
16. "Eye of the Wistrom"   1:05
17. "Mood India" (Contains Mission: Impossible Theme by Lalo Schifrin) 4:28
18. "Mumbai's the Word"   7:14
19. "Launch Is on Hendricks"   2:22
20. "World's Worst Parking Valet" (Contains Mission: Impossible Theme by Lalo Schifrin)  
21. "Putting the Miss in Mission" (Contains Mission: Impossible Theme by Lalo Schifrin) 5:19
22. "Mission: Impossible Theme (Out with a Bang Version)"   0:53
Distribution[edit]
Marketing[edit]



 Tom Cruise along with Anil Kapoor at the Taj Mahal for the film promotion.
In July 2011, a teaser trailer for Ghost Protocol was released illustrating new shots from the film, one of which being Tom Cruise scaling the world's tallest building, the Burj Khalifa building in Dubai.[26] Moreover; prior to its release, the studio presented IMAX footage of the film to an invitation-only crowd of opinion makers and journalists at central London's BFI IMAX theater. One of the many scenes that were included was a chase scene in a Dubai desert sandstorm.[27]
During November 2011, the Paramount released a Facebook game of the film in order to promote it. The new game allowed players to choose the roles of IMF agents and assemble teams to embark on a multiplayer journey. Players were also able to garner tickets to the film's U.S. premiere and a hometown screening of the film for 30 friends.[28]
Theatrical release[edit]
Following the world premiere in Dubai on December 7, 2011,[29] the film was released in IMAX and other large-format theaters in the U.S. on December 16, 2011,[30] with general release on December 21, 2011.
Home media[edit]
Mission: Impossible – Ghost Protocol was released on Blu-ray Disc, DVD and digital download on April 17, 2012.[31] The home media releases, however, do not preserve the original IMAX imagery,[32][33] and its aspect ratio is consistently cropped to 2.40:1 rather than switching to a 1.78:1 aspect ratio during the IMAX scenes. Blu-ray Disc releases such as The Dark Knight,[34] Tron: Legacy,[35] and the exclusive Wal-Mart release of Transformers: Revenge of the Fallen[36] will switch between 2.40:1 for regular scenes and 1.78:1 for IMAX scenes.
Reaction[edit]
Critical response[edit]
Mission: Impossible – Ghost Protocol received critical acclaim, scoring a 93% "Certified Fresh" approval rating on review aggregate site Rotten Tomatoes, based on 226 reviews, with an average rating of 7.7/10 and an audience rating of 85%, making it the best-reviewed entry of the series. The site's critical consensus is, "Stylish, fast-paced, and loaded with gripping set pieces, the fourth Mission: Impossible is big-budget popcorn entertainment that really works."[37] Metacritic assigned the film a score of 73 based on 38 reviews, considered to be "generally favorable reviews".[38]
Roger Ebert of the Chicago Sun-Times gave the film 3.5 out of 4 stars, saying the film "is a terrific thriller with action sequences that function as a kind of action poetry".[39] Stephen Whitty of The Star-Ledger wrote, "The eye-candy—from high-tech gadgets to gorgeous people—has only been ratcheted up. And so has the excitement." He also gave the film 3.5 out of 4 stars.[40] Giving the film 3 out of 4 stars, Wesley Morris of The Boston Globe said, "In its way, the movie has old-Hollywood elegance. The scope and sets are vast, tall, and cavernous, but Bird scales down for spatial intimacy."[41]
Philippa Hawker of The Sydney Morning Herald gave the film 3 stars out of 5, and said it is "ludicrously improbable, but also quite fun."[9] Owen Gleiberman of Entertainment Weekly opined that the movie "brims with scenes that are exciting and amazing at the same time; they're brought off with such casual aplomb that they're funny, too. ... Ghost Protocol is fast and explosive, but it's also a supremely clever sleight-of-hand thriller. Brad Bird, the animation wizard, ... showing an animator's miraculously precise use of visual space, has a playful, screw-tightening ingenuity all his own."[42] Roger Moore of The Charlotte Observer said, "Brad Bird passes his audition for a career as a live-action director. And Ghost Protocol more than makes its bones as an argument for why Tom Cruise should continue in this role as long as his knees, and his nerves, hold up." He gave the film 3 out of 4 stars.[43]
Box office[edit]
Ghost Protocol grossed $209,397,903 in North America and $485,315,477 in other countries, for a worldwide total of $694,713,380.[44] It is the highest-grossing film worldwide in the Mission: Impossible series,[45] and the 5th highest-grossing film of 2011.[46] It is also the highest-grossing film worldwide starring Tom Cruise, surpassing War of the Worlds from the top spot.[47]
In limited release at 425 locations in North America, it earned $12.8 million over its opening weekend.[48] After five days of limited release, on its sixth day, it expanded to 3,448 theaters and reached first place at the box office with $8.92 million.[49] The film reached the No. 1 spot at the box office in its second and third weekends with $29.6 million and $29.4 million respectively.[50][51] Though only 9% of the film's screenings were in IMAX theaters, they accounted for 23% of the film's box office.[52]
Outside North America, it debuted to a $69.5 million in 42 markets representing approximately 70% of the marketplace. In the United Arab Emirates, it set an opening-weekend record of $2.4 million (since surpassed by Marvel's The Avengers).[53] In two countries outside the U.S. in which filming took place, its opening weekend gross increased by multiples over the previous installment: in Russia, more than doubling, to $6.08 million[54] and in India, more than quadrupling, to $4.0 million.[55] It is the highest-grossing Mission: Impossible film outside North America.[56] It topped the box office outside North America for three consecutive weekends (during December 2011)[57] and five weekends in total (the other two in 2012).[47] Its highest-grossing markets after North America are China ($102.5 million),[58] Japan ($69.7 million) and South Korea ($51.1 million).[59]
Accolades[edit]

Award
Category
Recipients and nominees
Result
Alliance of Women Film Journalists[60][61] Kick Ass Award for Best Female Action Star Paula Patton Nominated
Golden Reel Awards[62] Best Sound Editing: Sound Effects and Foley in a Feature Film Mission: Impossible – Ghost Protocol Nominated
Kids' Choice Awards Favorite Buttkicker Tom Cruise Nominated
MTV Movie Awards[63] Best Fight Tom Cruise vs. Michael Nyqvist Nominated
Best Gut-Wrenching Performance Tom Cruise Nominated
Saturn Awards[64] Best Action or Adventure Film Mission: Impossible – Ghost Protocol Won
Best Director Brad Bird Nominated
Best Actor Tom Cruise Nominated
Best Supporting Actress Paula Patton Nominated
Best Music Michael Giacchino Nominated
Best Editing Paul Hirsch Won
Teen Choice Awards[65] Choice Movie: Action Mission Impossible – Ghost Protocol Nominated
Choice Movie Actor: Action Mark Vincent Villegas Nominated
Choice Movie Actress: Action Paula Patton Nominated
Visual Effects Society Awards Outstanding Models in a Feature Motion Picture John Goodson, Paul Francis Russell and Victor Schutz Nominated
World Stunt Awards Best Stunt Coordinator and/or 2nd Unit Director Pavel Cajzl, Dan Bradley, Russell Solberg, Gregg Smrz and Owen Walstrom Nominated
Sequel[edit]
In December, 2011, Simon Pegg suggested that he and Tom Cruise are interested in returning for a fifth Mission: Impossible film.[66] Paramount is also reportedly interested in fast-tracking a fifth film due to the fourth film's success.[67] Bird has stated that he probably would not return to direct a fifth film, but Tom Cruise has been confirmed to return.[68] It was revealed on 3 August 2013 that Christopher McQuarrie will be the director of Mission Impossible 5.[69] Principal photography is scheduled to begin in February 2014 in London.[70]
See also[edit]

Portal icon Film portal
Mission: Impossible, the television series that served as an inspiration for the film series.
References[edit]
1.Jump up ^ "Mission: Impossible – Ghost Protocol – Movie Trailers". Fandango.com. Retrieved December 15, 2011.
2.^ Jump up to: a b "Mission:Impossible – Ghost Protocol Box Office Data". Box Office Mojo. Retrieved March 15, 2012.
3.Jump up ^ Peter Sciretta (May 7, 2010). "Brad Bird Confirmed for Mission: Impossible 4". /Film. Retrieved September 28, 2010.
4.Jump up ^ "Box office collections of "Mission: Impossible" films". Retrieved March 3, 2013.
5.Jump up ^ "'Mission: Impossible 4' Becomes Tom Cruise's Top-Grossing Film". Retrieved March 3, 2013.
6.Jump up ^ "Tom Cruise's Top 10 Highest Grossing Films Of All Time". Retrieved March 3, 2013.
7.Jump up ^ "Around-the-World Roundup: 'M:I-4' Passes $600 Million Worldwide". Retrieved March 3, 2013.
8.Jump up ^ "Simon Pegg Interview for 'Mission: Impossible – Ghost Protocol'". FlicksAndBits.com. December 8, 2011. Archived from the original on December 18, 2011. Retrieved December 15, 2011.
9.^ Jump up to: a b Hawker, Philippa (December 15, 2011). "Mission: Impossible – Ghost Protocol". The Sydney Morning Herald (Sydney, Australia). Retrieved December 15, 2011.3/5 stars
10.Jump up ^ Desowitz, Bill (October 27, 2011). "Brad Bird Talks Mission: Impossible Ghost Protocol: IMAX vs. 3-D, Animation vs. Live Action, Trailer". Indiewire.com. Archived from the original on December 18, 2011. Retrieved December 3, 2011.
11.Jump up ^ Cinematical Staff (September 17, 2010). "Everything We Know About the Movie Not Called 'Mission: Impossible IV'". Cinematical. Retrieved September 28, 2010.
12.Jump up ^ McClintock, Pamela (August 26, 2010). "Inside Par's 'Mission' revamp: No title yet for next pic in franchise; Renner signs". Variety. Archived from the original on November 22, 2011.
13.Jump up ^ "Paramount Pictures and IMAX Pact for Four Films in 2011". IMAX press release via Giant Screen Cinema Association. January 10, 2011. Archived from the original on December 18, 2011. Retrieved January 18, 2011.
14.Jump up ^ "Mission Impossible’ To Open Early On IMAX". Paramount Pictures press release via Deadline.com. October 5, 2011. Retrieved October 27, 2011.
15.^ Jump up to: a b "Brad Bird: ‘Mission: Impossible’ opening early at IMAX". Indiewire. September 28, 2011. Retrieved October 27, 2011.
16.^ Jump up to: a b c d e "Mission Impossible – Ghost Protocol Production Notes". Paramount Pictures. Archived from the original on December 18, 2011. Retrieved November 24, 2011.
17.Jump up ^ Russ Fischer (September 28, 2010). "Josh Holloway Joins Fourth 'Mission: Impossible'". /Film. Retrieved September 28, 2010.
18.Jump up ^ ""Mission Impossible 4" called "Ghost Protocol": Cruise". Reuters. October 28, 2010.
19.Jump up ^ "Mission Impossible 4 shooting in Mumbai!". The Times of India. April 25, 2011. Retrieved April 25, 2011.
20.Jump up ^ "Sitting on top of the world! Is that Tom Cruise performing a death-defying stunt on the planet's highest skyscraper?". Daily Mail (UK). November 25, 2010. Retrieved October 27, 2011.
21.Jump up ^ "Mission Impossible 4 shooting in Mumbai!". The Times Of India. April 25, 2011.
22.Jump up ^ "BMW i8 Stars in Mission Impossible: Ghost Protocol". Retrieved April 12, 2012.
23.Jump up ^ "BMW’s i8 Hybrid-Electric Sports Car Saves the World in Mission Impossible: Ghost Protocol". Retrieved April 12, 2012.
24.Jump up ^ "BMW i8 Cruises into Mission Impossible movie". Retrieved April 12, 2012.
25.Jump up ^ Mission: Impossible – Ghost Protocol. Varese Sarabande.
26.Jump up ^ "'Mission Impossible: Ghost Protocol' Trailer Hits Web". Hollywood Reporter. June 28, 2011. Retrieved December 30, 2011.
27.Jump up ^ Kemp, Stuart (November 18, 2011). "Paramount Pictures U.K. Shows IMAX Footage for 'Mission Impossible – Ghost Protocol'". Hollywood Reporter. Retrieved December 30, 2011.
28.Jump up ^ Gaudiosi, John (November 21, 2011). "Paramount Pictures Launches 'Mission: Impossible' Facebook Game to Promote 'Ghost Protocol'". Hollywood Reporter. Retrieved December 30, 2011.
29.Jump up ^ "Mission: Impossible – Ghost Protocol to open 8th Dubai International Film Festival". Dubai International Film Festival. November 14, 2011. Archived from the original on December 17, 2011.
30.Jump up ^ McClintock, Pamela (September 28, 2011). "Paramount Opening 'Mission: Impossible – Ghost Protocol' Five Days Early in Imax". The Hollywood Reporter. Retrieved October 3, 2011.
31.Jump up ^ Mission: Impossible – Ghost Protocol DVD RELEASE date | Redbox | Amazon | iTunes. Kuzleem.com.
32.Jump up ^ Mission: Impossible – Ghost Protocol Blu-ray. Blu-ray.com.
33.Jump up ^ Mission: Impossible – Ghost Protocol Blu-ray: Limited 3-Disc Combo Best Buy Exclusive Content. Blu-ray.com.
34.Jump up ^ The Dark Knight Blu-ray. Blu-ray.com.
35.Jump up ^ TRON: Legacy 3D Blu-ray. Blu-ray.com.
36.Jump up ^ Transformers: Revenge of the Fallen Blu-ray: Two-Disc Special Edition | IMAX Edition, Wal-Mart Exclusive. Blu-ray.com.
37.Jump up ^ "Mission: Impossible Ghost Protocol (2011)". Rotten Tomatoes. Retrieved June 20, 2012.
38.Jump up ^ "Mission: Impossible – Ghost Protocol Reviews, Ratings, Credits, and More at Metacritic". Metacritic. Retrieved December 31, 2011.
39.Jump up ^ Ebert, Roger (December 14, 2011). "Mission: Impossible – Ghost Protocol". Chicago Sun-Times. Chicago, Illinois, US. Retrieved December 15, 2011.3.5/4 stars
40.Jump up ^ "Newest 'Mission' might make Cruise's series better than Bond's". Retrieved 20 June 2012.
41.Jump up ^ "Wesley Morriss's review of "Mission: Impossible – Ghost Protocol"". 
42.Jump up ^ Gleiberman, Owen (December 16, 2011). "Movie Review: Mission: Impossible – Ghost Protocol (2011)". Entertainment Weekly. Archived from the original on December 17, 2011.
43.Jump up ^ "Movie Review: Mission: Impossible – Ghost Protocol". Retrieved 20 June 2012.
44.Jump up ^ "Mission: Impossible – Ghost Protocol (2011)". Box Office Mojo. Retrieved April 13, 2012.
45.Jump up ^ "Mission: Impossible – Franchise". Box Office Mojo. Retrieved January 10, 2012.
46.Jump up ^ "2011 WORLDWIDE GROSSES". Retrieved April 8, 2012.
47.^ Jump up to: a b Subers, Ray (February 7, 2012). "Around-the-World Roundup: 'M:I-4' Passes $600 Million Worldwide". Box Office Mojo. Retrieved February 13, 2012.
48.Jump up ^ "Weekend Report: Disappointing Debuts From 'Sherlock,' 'Alvin' Sequels". Box Office Mojo. Retrieved December 20, 2011.
49.Jump up ^ Christmas Preview: 'M:I-4,' 'Dragon Tattoo' to Lead Crowded Holiday. Boxofficemojo.com (December 22, 2011).
50.Jump up ^ Box Office: December 23–25, 2011. Boxofficemojo.com.
51.Jump up ^ Box Office: December 30 – January 1, 2012. Boxofficemojo.com.
52.Jump up ^ "IMAX Is on Cruise Control". Daily Finance. January 4, 2012. Retrieved January 12, 2012.
53.Jump up ^ Finke, Nikki (May 7, 2012). "Avenger Actuals: $654.8M Weekend = $207.4M Record Domestic, $447.4M Foreign". Deadline.com. Archived from the original on May 9, 2012.
54.Jump up ^ Russia – CIS Box Office December 15–18, 2011. Boxofficemojo.com.
55.Jump up ^ Subers, Ray. "Around-the-World Roundup: 'M:I-4' Lights Fuse Overseas". Box Office Mojo. Retrieved December 21, 2011.
56.Jump up ^ Subers, Ray (January 22, 2012). "Around-the-World Roundup: 'Sherlock' Outwits Competition for Third-Straight Weekend". Box Office Mojo. Retrieved January 23, 2012.
57.Jump up ^ Subers, Ray (January 4, 2012). "Around-the-World Roundup: 'Mission' Accomplished Again". Box Office Mojo. Retrieved March 12, 2012.
58.Jump up ^ "China Weekly Box Office (Mar 19 – 25): John Carter repeat on a quiet weekend for openers". Box Office Follower. March 28, 2012. Retrieved March 29, 2012.
59.Jump up ^ "MISSION: IMPOSSIBLE – GHOST PROTOCOL". Box Office Mojo. Retrieved February 23, 2012.
60.Jump up ^ "Alliance of Women Film Journalists Awards 2011". Movie City News.
61.Jump up ^ "Alliance of Women Film Journalists Awards 2011 winners". AWFJ.org.
62.Jump up ^ "2011 Golden Reel Awards nominations". The Award Circuit.
63.Jump up ^ Ford, Rachel (June 3, 2012). "MTV Movie Awards: Complete Winners List". Hollywood Reporter (Prometheus Global Media). Archived from the original on June 4, 2012. Retrieved June 4, 2012.
64.Jump up ^ "RISE OF THE PLANET OF THE APES and SUPER 8 lead Saturn Awards with 3 awards each.". saturnawards.org. July 26, 2012. Retrieved July 27, 2012.
65.Jump up ^ "First Wave of "Teen Choice 2012" Nominees Announced". Teen Choice Awards. May 18, 2012. Archived from the original on May 18, 2012. Retrieved May 18, 2012.
66.Jump up ^ Exclusive : Pegg, Bird on Mission : Impossible 5; Tom Cruise not retiring Ethan Hunt after all Movie Hole
67.Jump up ^ ‘Mission: Impossible 5′ Being Fast-Tracked by Paramount? Screen Rant
68.Jump up ^ The 'Alien 3' Effect: Brad Bird on Mission: Impossible – Ghost Protocol Crave Online
69.Jump up ^ "TOLDJA: Christopher McQuarrie Confirmed To Helm ‘Mission: Impossible 5′". Deadline.com. Penske Media Corporation. August 5, 2013. Retrieved October 30, 2013.
70.Jump up ^ Chitwood, Adam (October 30, 2013). "Christopher McQuarrie to Direct Sci-Fi Anime Adaptation STAR BLAZERS; Filming on MISSION: IMPOSSIBLE 5 Begins February 2014". Collider.com. Retrieved October 30, 2013.
External links[edit]
Official website
Mission: Impossible – Ghost Protocol at the Internet Movie Database
Mission: Impossible – Ghost Protocol at Metacritic
Mission: Impossible – Ghost Protocol at Rotten Tomatoes
Mission: Impossible – Ghost Protocol at Box Office Mojo


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Mission: Impossible (film series)
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Mission: Impossible
Missionimpossibleblurayboxset.jpg
Blu-ray box set of the first three films

Directed by
Brian De Palma (1)
John Woo (2)
J.J. Abrams (3)
Brad Bird (4)
Christopher McQuarrie (5)
Produced by
Tom Cruise (1–4)
Paula Wagner (1–3)
 J. J. Abrams (4-5)
Bryan Burk (4-5)
Screenplay by
David Koepp (1)
Robert Towne (1–2)
Alex Kurtzman (3)
Roberto Orci (3)
 J. J. Abrams (3)
André Nemec (4)
Josh Appelbaum (4)
Drew Pearce (5)
Story by
David Koepp (1)
Steven Zaillian (1)
Ronald D. Moore (2)
Brannon Braga (2)
 Alex Kurtzman (3)
 Roberto Orci (3)
 J. J. Abrams (3)
 André Nemec (4)
 Josh Appelbaum (4)
Based on
Mission: Impossible
 by Bruce Geller
Starring
Tom Cruise
Music by
Danny Elfman (1)
Hans Zimmer (2)
Michael Giacchino (3–4)
Cinematography
Stephen H. Burum (1)
Jeffrey L. Kimball (2)
Dan Mindel (3)
Robert Elswit (4)
Editing by
Paul Hirsch (1, 4)
 Steven Kemper (2)
Christian Wagner (2)
Maryann Brandon (3)
Mary Jo Markey (3)
Distributed by
Paramount Pictures
Release dates
1996 – present
Country
United States
Language
English
Budget
$500 million
Box office
$2,096,647,856
The Mission: Impossible films are a series of action films based on the television series of the same name, produced by and starring Tom Cruise as IMF agent Ethan Hunt. The series is the 15th highest grossing film series of all time with over $2 billion worth of worldwide gross.[1]


Contents  [hide]
1 Films 1.1 Mission: Impossible
1.2 Mission: Impossible II
1.3 Mission: Impossible III
1.4 Mission: Impossible – Ghost Protocol
1.5 Fifth film
2 Principal cast
3 Reception 3.1 Box office performance
3.2 Critical reaction
3.3 Controversy
4 Change to theme song
5 References

Films[edit]
Mission: Impossible[edit]
Main article: Mission: Impossible (film)
Released in 1996, Ethan Hunt is framed for not only the murder of his fellow IMF agents during a Prague Embassy mission gone wrong, but is also wrongly accused of selling government secrets to a mysterious international criminal known only as "Max".
Mission: Impossible II[edit]
Main article: Mission: Impossible II
Released in 2000, Ethan Hunt sends Nyah Nordoff-Hall undercover to stop an ex-IMF agent's mad scheme to steal a deadly virus and sell the antidote to the highest bidder.
Mission: Impossible III[edit]
Main article: Mission: Impossible III
Released in 2006, Ethan Hunt, retired from being an IMF team leader and engaged to be married, assembles a team to face a ruthless arms and information broker intending to sell a mysterious dangerous object known as "The Rabbit's Foot".
Mission: Impossible – Ghost Protocol[edit]
Main article: Mission: Impossible – Ghost Protocol
Released in 2011, Ethan Hunt, as well as the entire IMF are placed with the blame of the bombing of the Kremlin. He and three others must stop a man bent on a global nuclear war.
Fifth film[edit]
A fifth Mission: Impossible will be directed by Christopher McQuarrie[2] and Drew Pearce will be writing the film.[3] Paramount Pictures and Skydance Productions have signed a deal with Tom Cruise to reprise the role of Ethan Hunt and produce.[4] Jeremy Renner is reported to return as William Brandt.[5] On November 19, 2013, Simon Pegg confirmed that he will reprise his role as Benji.[6]
On November 13, 2013, the film was announced to be released on December 25, 2015.[5]
Principal cast[edit]

Character
Film

Mission: Impossible
Mission: Impossible II
Mission: Impossible III
Mission: Impossible –
Ghost Protocol

Ethan Hunt
Tom Cruise
Luther Stickell
Ving Rhames
Benji Dunn
  Simon Pegg
Julia Meade
  Michelle Monaghan
Jim Phelps
Jon Voight  
Claire Phelps
Emmanuelle Béart  
Eugene Kittridge
Henry Czerny  
Franz Krieger
Jean Reno  
Sarah Davies
Kristin Scott Thomas  
Max
Vanessa Redgrave  
Hannah Williams
Ingeborga Dapkunaite  
Jack Harmon
Emilio Estevez  
Sean Ambrose
  Dougray Scott  
Nyah Nordoff-Hall
  Thandie Newton  
Hugh Stamp
  Richard Roxburgh  
Billy Baird
  John Polson  
John C. McCloy
  Brendan Gleeson  
Dr. Nekhorvich
  Rade Šerbedžija  
Swanbeck
  Anthony Hopkins 
Owen Davian
  Philip Seymour Hoffman  
John Musgrave
  Billy Crudup  
Declan Gormley
  Jonathan Rhys Meyers  
Lindsey Farris
  Keri Russell  
Zhen Lei
  Maggie Q  
Theodore Brassel
  Laurence Fishburne  
William Brandt
  Jeremy Renner
Jane Carter
  Paula Patton
Kurt Hendricks
  Michael Nyqvist
Marius Wistrom
  Samuli Edelmann
Trevor Hanaway
  Josh Holloway
Brij Nath
  Anil Kapoor
Sabine Moreau
  Léa Seydoux
The Secretary
  Tom Wilkinson
Reception[edit]
Box office performance[edit]

Film
Release date
Box office revenue
Box office ranking
Budget
Reference

United States
Foreign
Worldwide
All time domestic
All time worldwide
Mission: Impossible May 22, 1996 $180,981,856 $276,714,503 $457,696,359 #152
 #148(A) #119 $80 million [7]
Mission: Impossible II May 24, 2000 $215,409,889 $330,978,216 $546,388,105 #102
 #156(A) #82 $125 million [8]
Mission: Impossible III May 5, 2006 $134,029,801 $263,820,211 $397,850,012 #294 #153 $150 million [9]
Mission: Impossible – Ghost Protocol December 16, 2011 (Limited)
 December 21, 2011 $209,397,903 $485,315,477 $694,713,380 #109 #49 $145 million [10]
Total
$739,811,483 $1,356,836,373 $2,096,647,856 N/A N/A $500 million N/A
List indicator(s) (A) indicates the adjusted totals based on current ticket prices (calculated by Box Office Mojo).

Critical reaction[edit]

Film
Rotten Tomatoes
Metacritic
Mission: Impossible 61% (49 reviews)[11] 60 (16 reviews)[12]
Mission: Impossible II 57% (141 reviews)[13] 60 (33 reviews)[14]
Mission: Impossible III 70% (218 reviews)[15] 66 (38 reviews)[16]
Mission: Impossible – Ghost Protocol 93% (226 reviews)[17] 73 (38 reviews)[18]
Average ratings
71%
65

Controversy[edit]
Some fans of the TV series were upset that Jim Phelps, team leader in the series, became a traitor in the first movie, selling the details of government agents to an arms dealer. Actor Greg Morris, who portrayed Barney Collier in the original television series, was so disgusted with the film's treatment of the Phelps character that he walked out of the theater before the film ended.[19] Martin Landau, who portrayed Rollin Hand in the original series, was equally negative concerning the films. In an MTV interview in October 2009, Landau stated: "When they were working on an early incarnation of the first one – not the script they ultimately did – they wanted the entire team to be destroyed, done away with one at a time, and I was against that", he said. "It was basically an action-adventure movie and not 'Mission.' 'Mission' was a mind game. The ideal mission was getting in and getting out without anyone ever knowing we were there. So the whole texture changed. Why volunteer to essentially have our characters commit suicide? I passed on it. The script wasn't that good either."[20]
Peter Graves turned down an offer to portray Jim Phelps in the 1996 film due to the fact Phelps was going to be revealed as an antagonist.[1]
Change to theme song[edit]
The television version is in a rarely used 5/4 (5 beats to a measure) time and is difficult to dance to, as was proven by a memorable segment of American Bandstand in which teenage dancers were caught off-guard by Dick Clark's playing of the Lalo Schifrin single release.[21]
The opening theme music for the first three films are stylized renditions of Lalo Schifrin's original iconic theme, preserving the 5/4 rhythm, by Danny Elfman, Hans Zimmer, and Michael Giacchino respectively by the films' chronology. Most of the versions included in the score also retained the 5/4 time signature.[21]
However, for Adam Clayton & Larry Mullen, Jr.'s remix featured on the first film's motion picture soundtrack, the time signature was changed to standard pop 4/4 (4 beats to a measure) time to make it more dance-friendly, although the intro is still in 5/4 time.[21] Also, the Limp Bizkit song "Take a Look Around" from the soundtrack to the second film was set to a similar 4/4 modification of the theme, with an interlude in 5/4.
References[edit]

Portal icon Film in the United States portal
1.Jump up ^ "Mission: Impossible Movies at the Box Office". Box Office Mojo. Retrieved 2012-08-31.
2.Jump up ^ Christopher McQuarrie Confirmed for MISSION: IMPOSSIBLE 5
3.Jump up ^ 'Iron Man 3' Writer Drew Pearce to Pen Next 'Mission: Impossible' (Exclusive)
4.Jump up ^ http://www.comingsoon.net/news/movienews.php?id=103854
5.^ Jump up to: a b Elavsky, Cindy (2013-08-18). "Celebrity Extra". King Features. Retrieved 2013-11-07.
6.Jump up ^ Recent reports suggest that Rosamund Pike and Channing Tatum are slated for inclusion as well.Kenya and Singapore are confirmed as shooting locations. Simon Pegg Confirms That He'll Return for Mission: Impossible 5
7.Jump up ^ "Mission: Impossible (1996)". Box Office Mojo. August 31, 2012.
8.Jump up ^ "Mission: Impossible II (2000)". Box Office Mojo. August 31, 2012.
9.Jump up ^ "Mission: Impossible III (2006)". Box Office Mojo. August 31, 2012.
10.Jump up ^ "Mission: Impossible - Ghost Protocol (2011)". Box Office Mojo. August 31, 2012.
11.Jump up ^ "Mission Impossible". Rotten Tomatoes. Flixster. Retrieved August 31, 2012.
12.Jump up ^ "Mission: Impossible". Metacritic. CBS. Retrieved August 31, 2012.
13.Jump up ^ "Mission Impossible 2". Rotten Tomatoes. Flixster. Retrieved August 31, 2012.
14.Jump up ^ "Mission: Impossible II". Metacritic. CBS. Retrieved August 31, 2012.
15.Jump up ^ "Mission Impossible III". Rotten Tomatoes. Flixster. Retrieved August 31, 2012.
16.Jump up ^ "Mission: Impossible III". Metacritic. CBS. Retrieved August 31, 2012.
17.Jump up ^ "Mission: Impossible Ghost Protocol". Rotten Tomatoes. Flixster. Retrieved August 31, 2012.
18.Jump up ^ "Mission: Impossible Ghost Protocol". Metacritic. CBS. Retrieved August 31, 2012.
19.Jump up ^ 'Mission: Impossible' TV stars disgruntled. CNN. May 29, 1996.
20.Jump up ^ Martin Landau Discusses 'Mission: Impossible' Movies, MTV Movies Blog, October 29, 2009
21.^ Jump up to: a b c They Shot, He Scored by Dave Karger. Published June 7, 1996. Retrieved February 11, 2011.


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The Incredibles
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The Incredibles
The Incredibles.jpg
Theatrical release poster

Directed by
Brad Bird
Produced by
John Walker
Written by
Brad Bird
Starring
Craig T. Nelson
Holly Hunter
Sarah Vowell
Spencer Fox
Jason Lee
Samuel L. Jackson
Elizabeth Peña
 Brad Bird
Music by
Michael Giacchino
Cinematography
Andrew Jimenez
 Patrick Lin
Janet Lucroy
Editing by
Stephen Schaffer
Studio
Walt Disney Pictures
Pixar Animation Studios
Distributed by
Buena Vista Pictures
Release dates
October 27, 2004 (London Film Festival)
November 5, 2004 (United States)

Running time
115 minutes
Country
United States
Language
English
Budget
$92 million
Box office
$631,442,092[1]
The Incredibles is a 2004 American computer-animated comedy superhero film written and directed by Brad Bird and released by Walt Disney Pictures. It was the sixth film produced by Pixar Animation Studios. The film's title is the name of a family of superheroes who are forced to hide their powers and live a quiet suburban life. Mr. Incredible's desire to help people draws the entire family into a battle with an evil villain and his killer robot.
Bird, who was Pixar's first outside director, developed the film as an extension of 1960s comic books and spy films from his boyhood and personal family life. He pitched the film to Pixar after the box office disappointment of his first feature, The Iron Giant (1999), and carried over much of its staff to develop The Incredibles. The animation team was tasked with animating an all-human cast, which required creating new technology to animate detailed human anatomy, clothing and realistic skin and hair. Michael Giacchino composed the film's orchestral score.
The film premiered on October 27, 2004 at the BFI London Film Festival and had its general release in the United States on November 5, 2004. The film performed highly at the box office, grossing $631 million worldwide during its original theatrical run. The Incredibles was met with high critical acclaim, garnering high marks from professional critics and audiences, and provoking commentary on its themes. Many critics called it the best film of 2004, receiving the 2004 Annie Award for Best Animated Feature, along with two Academy Awards. It became the first entirely animated film to win the prestigious Hugo Award for Best Dramatic Presentation.


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Writing
3.2 Animation
3.3 Music
4 Themes
5 Release 5.1 Home media
6 Reception 6.1 Critical response
6.2 Box office
6.3 Accolades
7 Merchandising
8 Comics
9 Video game
10 Possible sequel
11 Notes
12 References
13 External links

Plot[edit]
"Supers"—humans gifted with superpowers—are forced into civilian relocation programs after facing several lawsuits from peripheral damage caused by their crime fighting activities. Fifteen years after relocation, Bob and Helen Parr, formerly Mr. Incredible and Elastigirl, and their children Violet, Dash, and Jack-Jack live as a suburban family. Bob is unsatisfied with suburban life and his white-collar job and longs for the glory days. On some nights, Bob and his old friend Lucius Best, formerly Frozone, perform vigilante work, unbeknownst to Helen. One day, Bob loses his temper at his supervisor, who refuses to let him stop a mugging, resulting in him losing his job. Returning home, Bob finds a message from a woman named Mirage, who convinces him to become Mr. Incredible again and gives him a mission to destroy a malfunctioning robot called the Omnidroid, promising a substantial reward. Arriving on Nomanisan Island, Bob is able to defeat the robot by tricking it into ripping out its own power source.
Bob is rejuvenated by being able to use his powers freely, improving his attitude and relationship with his family, and he begins rigorous training while waiting for more work from Mirage. Discovering a fresh tear in his suit, Bob visits superhero costume designer Edna Mode who decides to make him and his whole family suits, unbeknownst to Helen and the children. Leaving for Nomanisan once again, Bob discovers that Mirage is working for Buddy, a former fan shunned by Mr. Incredible and now identifying as the super-villian Syndrome. Syndrome intends to perfect the Omnidroid and defeat it in public in Metroville while manipulating its controls to become a hero himself, and then sell his inventions so everyone will become equally "super", making the term meaningless. Bob sneaks into Syndrome's base and finds Syndrome's computer. From it, Bob discovers Syndrome murdered countless retired superheroes with previous Omnidroid prototypes to improve its design. Meanwhile, Helen visits Edna, finds out what Bob has been up to, and activates a homing beacon to find him, inadvertently causing Bob to be discovered and captured.
Helen borrows a jet to head for Nomanisan, but finds Violet and Dash have stowed away wearing their own costumes, leaving Jack-Jack in the care of a teenage babysitter. Syndrome picks up Helen’s radio transmissions and destroys the jet, but Helen along with the children survive and make it to the island, though Bob thinks they are dead. Helen proceeds to the base to find Bob, discovering Syndrome's intentions to send the Omnidroid to Metroville in a rocket. Later, Mirage, distraught by Syndrome's true plans, releases Bob and informs him that his family is alive. Helen appears and races off with Bob to find the children when they are spotted by security. Dash and Violet use their powers to escape their captors and are joined by their parents, only to be captured by Syndrome, who then heads off to initiate his plan.
With Mirage's help, the Parrs escape, and use a security van and a rocket booster to pursue Syndrome. In Metroville, the Omnidroid proves to be too intelligent, and knocks the remote that controls it out of Syndrome's grasp, knocking him unconscious and rampaging through the city. The Parrs and Lucius team up to fight the robot, until Bob uses Syndrome's remote control and one of the Omnidroid’s detached pincers to make it tear its power source out, destroying it. Returning home, the Parrs find Syndrome has Jack-Jack and intends on raising him as his own sidekick to seek revenge on the family. As Syndrome tries to escape to his jet, Jack-Jack's own morphing superpowers start to manifest and distract Syndrome. Helen rescues Jack-Jack, and Bob kills Syndrome by throwing his own car at the jet, causing Syndrome's cape to get caught in its engine, which sucks him in. The jet explodes and destroys the Parr's house, but Violet's shield ability protects the family.
Three months later, the Parrs have readjusted to normal life, but the city is attacked by a villain called the Underminer. The family dons their superhero outfits, preparing to face the new threat.
Cast[edit]
Main article: List of The Incredibles characters
Craig T. Nelson as Bob Parr/Mr. Incredible, the patriarch of the Parr family, possessing super-strength and limited invulnerability
Holly Hunter as Helen Parr/Elastigirl, Bob's wife, who possesses the ability to stretch her body like rubber
Jason Lee as Buddy Pine/Syndrome, who has no super powers of his own but uses advanced technology to give himself equivalent abilities
Spencer Fox as Dashiell Robert "Dash" Parr/The Dash, the Parrs' 4th-grader second child, possessing super-speed
Sarah Vowell as Violet Parr, the Parrs' junior-high-aged first child, who possesses the ability to become invisible and generate an impact-resistant force shield
Eli Fucile and Maeve Andrews as Jack-Jack Parr, The Parrs' infant third child, who initially shows no powers but eventually reveals himself to have a wide range of abilities
Samuel L. Jackson as Lucius Best/Frozone, Bob's best friend, who has the ability to form ice from the humidity in the air
Elizabeth Peña as Mirage, Syndrome's agent who lures Supers to Nomanisan Island
Brad Bird as Edna Mode, the fashion designer for the Supers
Bud Luckey as Rick Dicker, the government agent overseeing the relocation program
Wallace Shawn as Gilbert Huph, Bob's supervisor at his white-collar insurance job
John Ratzenberger as The Underminer, a new villain who appears at the end of the film
Dominique Louis as Bomb Voyage, a villain from the past who uses Buddy's interference in Mr. Incredible's heroism to escape
Michael Bird as Tony Rydinger, a popular boy at Violet's school who develops a crush on Violet
Jean Sincere as Mrs. Hogenson, an elderly woman who seeks help from Bob Parr/Mr. Incredible for an insurance claim
Kimberly Adair Clark as Honey, Frozone's wife
Bret Parker as Kari McKeen, Jack-Jack's babysitter
Lou Romano as Bernie Kropp, Dash's teacher
Wayne Canney as the principal of Dash's school
Production[edit]
Writing[edit]
The Incredibles as a concept dates back to 1993, when Bird sketched the family during a period in which he tried to break into film.[2][3] Personal issues had percolated into the story as they weighed on him in life.[4] During this time, Bird had inked a production deal with Warner Bros. Animation and was in the process of directing his first feature, The Iron Giant.[5] Bird, who was then in his late thirties, began to wonder, with a measure of fear, about the conflict between career and family responsibilities. Approaching middle age and having high aspirations for his filmmaking, he pondered whether these aspirations were attainable only at the price of his family life.[4] He felt that he would completely fail at one if he focused too much on the other. He stated, "Consciously, this was just a funny movie about superheroes. But I think that what was going on in my life definitely filtered into the movie."[6] After the box office failure of The Iron Giant, Bird was heartsick and gravitated toward his superhero story.[4][5]
"The dad is always expected in the family to be strong, so I made him strong. The moms are always pulled in a million different directions, so I made her stretch like taffy. Teenagers, particularly teenage girls, are insecure and defensive, so I made her turn invisible and turn on shields. And ten-year-old boys are hyperactive energy balls. Babies are unrealized potential."
— Brad Bird, writer and director of The Incredibles.[7][8]
He imagined it as an homage to the 1960s comic books and spy films from his boyhood and he initially tried to develop it as a traditionally animated film.[4] When The Iron Giant became a box office bomb (due to poor marketing on behalf of Warner Bros.[5]), he reconnected with old friend from college John Lasseter at Pixar in March 2000 and pitched his story idea to him.[3] Bird and Lasseter knew each other from their college years at CalArts in the 1970s.[9] Lasseter was sold on the idea and convinced Bird to come to Pixar, where the film would be done in computer animation. The studio announced a multifilm contract with Bird on May 4, 2000.[4] This broke Pixar's mold of having directors who had all risen through the ranks, and Bird became the first outside director to be hired. In addition, it would be the company's first film in which all characters are human.[9] Bird was a departure from other Pixar directors in many more ways, bringing an auteur approach not found in their earlier productions. Where Pixar films typically had two or three directors and a battalion of screenwriters, The Incredibles was written and directed solely by Brad Bird.[10]
Bird came to Pixar with the lineup of the story's family members worked out: a mom and dad, both suffering through the dad's midlife crisis; a shy teenage girl; a cocky ten-year-old boy; and a baby. Bird had based their powers on family archetypes.[4][8] After several failed attempts to cast Edna Mode, Bird took on her voice role himself. It was an extension of the Pixar custom of tapping in-house staff whose voices came across particularly well on scratch dialogue tracks.[7] During production, Hayao Miyazaki of Studio Ghibli visited Pixar and saw the film's story reels. When Bird asked if the reels made any sense or if they were just "American nonsense," Miyazaki replied, through an interpreter, "I think it's a very adventurous thing you are trying to do in an American film."[11]
Animation[edit]



Brad Bird wrote and directed the film.
Upon Pixar's acceptance of the project, Brad Bird was asked to bring in his own team for the production. He brought up a core group of people he worked with on The Iron Giant. Because of this, many 2-D artists had to make the shift to 3-D, including Bird himself. Bird found working with CG "wonderfully malleable" in a way that traditional animation is not, calling the camera's ability to easily switch angles in a given scene "marvelously adaptable." He found working in computer animation difficult in a different way than working traditionally, finding the software sophisticated and not particularly friendly.[12] Bird wrote the script without knowing the limitations or concerns that went hand-in-hand with the medium of computer animation. As a result, this was to be the most complex film for Pixar yet.[2] The film's characters were designed by Tony Fucile and Teddy Newton, whom Bird had brought with him from Warner Bros.[13] Like most computer-animated films, The Incredibles had a year-long period of building the film from the inside out: modeling the exterior and understanding controls that work face and body — the articulation of the character — before animation could even begin.[12] Bird and Fucile tried to emphasize the graphic quality of good 2-D animation to the Pixar team, who'd only worked primarily in CG. Bird attempted to incorporate teaching from Disney's Nine Old Men that the crew at Pixar had "never really emphasized."[12]
For the technical crew members, the film's human characters posed a difficult set of challenges.[10] Bird's story was filled with elements that were difficult to animate with CGI at the time. Humans are widely considered to be the most difficult thing to execute in animation.[3] Pixar animators filmed themselves walking in order to better grasp proper human motion.[3] Creating an all-human cast required creating new technology to animate detailed human anatomy, clothing and realistic skin and hair. Although the technical team had some experience with hair and cloth in Monsters, Inc. (2001), the amount of hair and cloth required for The Incredibles had never been done by Pixar until this point. Moreover, Bird would tolerate no compromises for the sake of technical simplicity. Where the technical team on Monsters, Inc. had persuaded director Pete Docter to accept pigtails on Boo to make her hair easier to animate, the character of Violet had to have long hair that obscured her face; it was integral to her character.[10] Violet's long hair was extremely difficult to achieve and for the longest time during production, it was not possible. In addition, animators had to adapt to having hair underwater and blowing through the wind.[12] Disney was initially reluctant to make the film because of these issues, feeling a live-action film would be preferable, though Lasseter vetoed this.[14]
The Incredibles not only dealt with the trouble of animating CG humans, but also many other complications. The story was bigger than any prior story at the studio, was longer in running time, and had four times the number of locations.[12][15] Supervising technical director Rick Sayre noted that the hardest thing about the film was that there was "no hardest thing," alluding to the amount of new technical challenges: fire, water, air, smoke, steam, and explosions were all additional to the new difficulty of working with humans.[12] The film's organizational structure could not be mapped out like previous Pixar features, and it became a running joke to the team.[12] Sayre said the team adopted “Alpha Omega," where one team was concerned with building modeling, shading and layout and another that dealt with final camera, lighting and effects. Another team, dubbed the character team, digitally sculpted, rigged and shaded the characters, and a simulation team was responsible for developing simulation technology for hair and clothing.[12] There were 781 visual effects shots in the film and they were quite often the gag, such as the shattering when Bob angrily shuts the car door. In addition, the effects team improved upon the modeling of clouds, being able to model them for the first time with volumetric rendering.[12]
The skin of the characters gained a new level of realism from a technology to produce what is known as "subsurface scattering."[13] The challenges did not stop with modeling humans. Bird decided that in a shot near the film's end, baby Jack-Jack would undergo a series of transformations, and in one of the five planned he would turn himself into a kind of goo. Technical directors believed it would take upwards of two months to work out the goo effect, and production was at a point where two months of their time was indescribably precious.[16] They petitioned to the film's producer, John Walker for help. Bird, who had brought Walker over from Warner Bros., took great exception to the idea that Jack-Jack could undergo a mere four transformations and that the film could do without the goo-baby. They argued over the issue in several invective-laced meetings for two months until Bird finally gave in.[16] Bird also insisted that the storyboards define the blocking of characters' movements, lighting, and camera moves, which had previously been left to other departments rather than storyboarded.[10]
Bird self-admitted that he "had the knees of [the studio] trembling under the weight" of The Incredibles, but called the film a testament to the talent of the animators at Pixar, who were admiring the challenges the film provoked.[12] He recalled, "Basically, I came into a wonderful studio, frightened a lot of people with how many presents I wanted for Christmas, and then got almost everything I asked for."[14]
Music[edit]
Main article: The Incredibles (film score)
The Incredibles is the first Pixar film to be scored by Michael Giacchino. Brad Bird was looking for a specific sound as inspired by the film's design — the future as seen from the 1960s. John Barry was the first choice to do the film's score, with a trailer of the film given a rerecording of Barry's theme to On Her Majesty's Secret Service. However, Barry did not wish to duplicate the sound of some of his earlier soundtracks;[17] the assignment was instead given to Giacchino.[18] Giacchino noted that recording in the 1960s was largely different than modern day recording and Dan Wallin, the recording engineer, said that Bird wanted a very old feel, and as such the score was recorded on analogue tapes. Wallin noted that brass instruments, which are at the forefront of the film's score, sound better on analog equipment rather than digital. Wallin came from an era in which music was recorded, according to Giacchino, "the right way," which consists of everyone in the same room, "playing against each other and feeding off each other's energy." Tim Simonec was the conductor/orchestrator for the score's recording.[19]
The film's orchestral score was released on November 2, 2004, three days before the film opened in theaters. It won numerous awards for best score including Los Angeles Film Critics Association Award, BMI Film & TV Award, ASCAP Film and Television Music Award, Annie Award, Las Vegas Film Critics Society Award and Online Film Critics Society Award and was nominated for Grammy Award for Best Score Soundtrack for Visual Media, Satellite Award and Broadcast Film Critics Association Award.[20]
Themes[edit]
Several film reviewers drew precise parallels between the film and certain superhero comic books, like Powers, Watchmen, and Fantastic Four. Indeed, the producers of the 2005 adaptation of the Fantastic Four were forced to make significant script changes and add more special effects because of similarities to The Incredibles.[21] Bird was not surprised that comparisons arose due to superheroes being "the most well-trod turf on the planet," but noted that he'd not been inspired by any comic books specifically, only having heard of Watchmen. He did comment that it was nice to be compared to something as highly regarded as Watchmen.[8]
Some commentators took Bob's frustration with celebrating mediocrity and Syndrome's comment that if "everyone is super, then no one is" as a reflection of views shared by German philosopher Friedrich Nietzsche or an extension of Russian-American novelist's Ayn Rand's Objectivism philosophy, which Bird felt was "ridiculous."[3][8] He stated that a large portion of the audience understood the satire whereas "two percent thought I was doing The Fountainhead or Atlas Shrugged." Some purported that The Incredibles exhibited a right-wing bias, which Bird found silly. "I think that's as silly of an analysis as saying The Iron Giant was left-wing. I'm definitely a centrist and feel like both parties can be absurd."[3]
The film also explored Bird's dislike for the tendency of the children's comics and Saturday morning cartoons of his youth to portray villains as unrealistic, ineffectual, and non-threatening.[22] In the film, Dash and Violet have to deal with villains who are perfectly willing to use deadly force against children.[23] On another level, both Dash and Violet display no emotion or regret at the deaths of those who are trying to kill them, such as when Dash outruns pursuers who crash their vehicles while chasing him, or when both of them witness their parents destroy several attacking vehicles with people inside, in such a manner that the deaths of those piloting them is undeniable. Despite disagreeing with some analysis, Bird felt it gratifying for his work to be considered on many different levels, which was his intention: "The fact that it was written about in the op/ed section of the New York Times several times was really gratifying to me. Look, it's a mainstream animated movie, and how often are those considered thought provoking?"[3]
Release[edit]
The film opened on November 5, 2004 as Pixar's first film to be rated PG (for "action violence") with the other PG-rated Pixar films being Up and Brave.[16] Its theatrical release was accompanied with a Pixar short film Boundin'.[24] While Pixar celebrated another triumph with The Incredibles, Steve Jobs was embroiled in a public feud with the head of its distribution partner, The Walt Disney Company.[25] This would eventually lead to the ousting of Michael Eisner and Disney's acquisition of Pixar the following year.
Home media[edit]
The film's 2-disc Collector's Edition DVD set was released on March 15, 2005. The DVD release also includes Jack-Jack Attack and Mr. Incredible and Pals, two Pixar short films made especially for the release of The Incredibles, and Boundin', a Pixar short film which premiered with The Incredibles in theaters.[24] The Incredibles was the highest-selling DVD of 2005, with 17.38 million copies sold.[26] The film was also released on UMD for the Sony PSP.[27] It was released on Blu-ray in North America on April 12, 2011.[28] There was also a VHS release to the film on March 15, 2005, notably the last Disney/Pixar film to be widely issued in VHS format (not counting Pixar's later film Cars; whose VHS release was extremely rare).[29]
Reception[edit]
Critical response[edit]



 Syndrome was listed at No. 64 in Wizard magazine's top 100 villains.[30]
The film received universal acclaim, with a 97% approval rating at Rotten Tomatoes[31] which as of August 2013, made the movie the fifteenth most highly rated animated film of all time.[32] The site's consensus reads: "Even though The Incredibles is more violent than previous Pixar offerings, it still a witty and fun-filled adventure that almost lives up to its name."[31] Metacritic, another review aggregator, indicates the film "universal acclaim" with a 90 out of 100 rating.[33]
Critic Roger Ebert awarded the film 3½ stars out of 4, writing that the film "alternates breakneck action with satire of suburban sitcom life" and is "another example of Pixar's mastery of popular animation."[34] Peter Travers of Rolling Stone gave the film 3½ stars and called the film "one of the year's best" and said that it "doesn't ring cartoonish, it rings true."[35] Also giving the film 3½ stars, People magazine found that The Incredibles "boasts a strong, entertaining story and a truckload of savvy comic touches."[36]
Eleanor Ringel Gillespie of The Atlanta Journal-Constitution was bored by the film's recurring pastiches of earlier action films, concluding, "the Pixar whizzes do what they do excellently; you just wish they were doing something else."[37][38] Similarly, Jessica Winter of The Village Voice criticized the film for playing as a standard summer action film, despite being released in early November. Her review, titled as "Full Metal Racket," noted that "The Incredibles announces the studio's arrival in the vast yet overcrowded Hollywood lot of eardrum-bashing, metal-crunching action sludge."[39]
Travers also named The Incredibles number 6 on his list of the decade's best films, writing "Of all the Pixar miracles studded through the decade, The Incredibles still delights me the most. It's not every toon that deals with midlife crisis, marital dysfunction, child neglect, impotence fears, fashion faux pas and existential angst."[40] The National Review Online named The Incredibles No. 2 on its list of the 25 best conservative movies of the last 25 years saying that it "celebrates marriage, courage, responsibility, and high achievement."[41] Entertainment Weekly named The Incredibles No. 25 on its list of the 25 greatest action films ever.[42] Entertainment Weekly also named The Incredibles No. 7 on its list of the 20 best animated movies ever.[43] IGN ranked the film as the third favorite animated film of all time in a list published in 2010.[44]
Box office[edit]
Despite concerns that the film would receive underwhelming results,[45] the films domestic gross was $70,467,623 in its opening weekend from 7,600 screens at 3,933 theaters, averaging $17,917 per theater or $9,272 per screen, the highest opening weekend gross for a Pixar film (the record was later broken in 2010 by Toy Story 3, with $110,307,189), the highest November opening weekend for a Disney film (the record was broken in 2013 by Thor: The Dark World with $86.1 million),[46] the highest-opening weekend for a non-sequel animated feature (the record was broken in 2007 by The Simpsons Movie, with $74,036,787), and the highest opening weekend for a non-franchise-based film for just over five years when Avatar opened with $77,025,481.[47] The film was also number 1 in its second weekend, grossing another $50,251,359, dropping just 29 percent, and easily out-grossing new animated opener The Polar Express. The film ultimately grossed $261,441,092, as the fifth highest-grossing Pixar film behind Toy Story 3 ($415 million), Finding Nemo ($380.7 million), Up ($293 million), and Monsters, Inc. ($266.1 million), and the fifth highest-grossing film of 2004.[48] Worldwide, the film grossed $631,442,092, as the fourth highest-grossing Pixar film behind Toy Story 3 ($1.063 billion), Finding Nemo ($921.6 million), and Up ($731.3 million), and ranked fourth for 2004.[49] It is also the second highest-grossing 2004 animated film behind Shrek 2 ($919.8 million).[50]
Accolades[edit]
Main article: List of Pixar awards and nominations: The Incredibles
The film won the Academy Awards for Best Animated Feature, beating two DreamWorks films, Shrek 2 and Shark Tale, as well as Best Sound Editing at the 77th Academy Awards. It also received nominations for Best Original Screenplay (for writer/director Brad Bird) and Best Sound Mixing (Randy Thom, Gary Rizzo and Doc Kane).[51] It was Pixar's first feature film to win multiple Oscars, followed in 2010 by Up. Joe Morgenstern of The Wall Street Journal called The Incredibles the year's best picture.[8] Premiere magazine released a cross-section of all the top critics in America and The Incredibles placed at number three, whereas review aggregator website Rotten Tomatoes cross-referenced reviews that suggested it was its year's highest-rated film.[8]
The film also received the 2004 Annie Award for Best Animated Feature and the 2005 Hugo Award for Best Dramatic Presentation, Long Form, and it was nominated for the 2004 Golden Globe Award for Best Motion Picture – Musical or Comedy. It also won the Saturn Award for Best Animated Film. The American Film Institute nominated The Incredibles for its Top 10 Animated Films list.[52]
Merchandising[edit]
Several companies released promotional products related to the film. Dark Horse Comics released a limited series of comic books based on the film. Kellogg's released an Incredibles-themed cereal, as well as promotional Pop-Tarts and fruit snacks, all proclaiming an "Incrediberry Blast" of flavor.[53] Pringles included potato chips featuring the superheroes and quotes from the film.[53] Furthermore, in the weeks before the film's opening, there were also promotional tie-ins with SBC Communications (using Dash to promote the "blazing-fast speed" of its SBC Yahoo! DSL service) Tide, Downy, Bounce and McDonald's.[54] Toy maker Hasbro produced a series of action figures and toys based on the film, although the line was not as successful as the film itself.[54]
In Europe, Kinder chocolate eggs contained small plastic toy characters from the film.[54] In Belgium, car manufacturer Opel sold special The Incredibles editions of their cars.[54] In the United Kingdom, Telewest promoted blueyonder internet services with branding from the film, including television adverts starring characters from the film.[54] In all merchandising outside of the film itself, Elastigirl is referred to as Mrs. Incredible.[54] This is due to a licensing agreement between Disney·Pixar and DC Comics, who has a character named Elasti-Girl (a member of the Doom Patrol).[54] The DC Comics character is able to grow and shrink at will from microscopic size to thousands of feet tall.[54]
Comics[edit]
In July 2008, it was announced that a series of comic books based on the film would be published by BOOM! Studios in collaboration with Disney Publishing by the end of the year.[55] The first miniseries by BOOM! was The Incredibles: Family Matters by Mark Waid and Marcio Takara, which was published from March to June 2009, and collected into a trade paperback published in July of that year.[56] An ongoing series written by both Mark Waid and Landry Walker, with art by Marcio Takara and Ramanda Kamarga, began later that same year, running for sixteen issues before being cancelled in October 2010.[56] Marvel began a reprint of the series in August 2011—set to possibly finish the storyline—which was abruptly cancelled, despite the production of scripts and art for a finale.[56]
Video game[edit]
Main article: The Incredibles (video game)
A video game based on the film was released for the PlayStation 2, Xbox, Nintendo GameCube, Game Boy Advance, PC, Apple Macintosh, and mobiles. Though based on the film, several key scenes are altered from the original script. A second game, The Incredibles: Rise of the Underminer, was released for PlayStation 2, GameCube, Xbox, Mac OS X, Game Boy Advance, Nintendo DS, and Windows.[57] Taking place immediately after the film, the sequel focuses on Mr. Incredible and Frozone as they do battle with the megalomaniacal mole, The Underminer.[57] A third game, The Incredibles: When Danger Calls, was released for Windows and Mac OS X.[58] It is a collection of 10 games and activities for the playable characters to perform.[58] Another game, Kinect Rush: A Disney Pixar Adventure, was released on March 20, 2012, for Xbox 360.[59] It features characters and missions from five Pixar's films: The Incredibles, Up, Cars, Ratatouille and Toy Story.[60] The Incredibles characters also star in Disney Infinity, which was released in August 2013. The play-set for The Incredibles is featured in the starter pack.[61]
Possible sequel[edit]
In 2004, when Disney owned sequel rights, Disney announced plans to make sequels for The Incredibles and Finding Nemo without Pixar involvement. Those plans were subsequently scrapped.[62]
When Disney acquired Pixar in 2006, the expectation of Disney was that Pixar would create more sequels and bankable franchises. Director Brad Bird stated in 2007 that he was open to the idea of a sequel if he could come up with an idea superior to the original film: "I have pieces that I think are good, but I don't have them all together," Bird said.[63]
During an interview in May 2013, Bird reiterated his interest in making a sequel. "I have been thinking about it. People think that I have not been, but I have. Because I love those characters and love that world," said Bird. "I am stroking my chin and scratching my head. I have many, many elements that I think would work really well in another Incredibles film, and if I can get ‘em to click all together, I would probably wanna do that."[64]
Notes[edit]
1.Jump up ^ "The Incredibles (2004)". Box Office Mojo. Amazon.com. Retrieved February 5, 2009.
2.^ Jump up to: a b Brad Bird, John Walker, et al. (2011). The Incredibles. Special Features: Making of The Incredibles (Blu-ray Disc). Buena Vista Home Entertainment.
3.^ Jump up to: a b c d e f g Patrizio, Andy (March 9, 2005). "An Interview with Brad Bird". IGN. Archived from the original on January 20, 2013. Retrieved July 27, 2013.
4.^ Jump up to: a b c d e f Price, p. 220
5.^ Jump up to: a b c Price, p. 219
6.Jump up ^ Paik, Karen. (2007) To Infinity and Beyond!: The Story of Pixar Animation Studios, Chronicle Books LLC, pg. 236–37.
7.^ Jump up to: a b Price, p. 220-221
8.^ Jump up to: a b c d e f Michael Barrier (February 27, 2005). "Brad Bird - Interview". MichaelBarrier.com. Retrieved July 31, 2012.
9.^ Jump up to: a b Price, p. 217
10.^ Jump up to: a b c d Price, p. 222
11.Jump up ^ Price, p. 215-216
12.^ Jump up to: a b c d e f g h i j Bill Desowitz (November 5, 2004). "Brad Bird & Pixar Tackle CG Humans Like True Superheroes". AnimationWorld. Retrieved July 31, 2012.
13.^ Jump up to: a b Price, p. 223
14.^ Jump up to: a b Paik, Karen. (2007) To Infinity and Beyond!: The Story of Pixar Animation Studios, Chronicle Books LLC, pg. 238–51
15.Jump up ^ Collins, Andrew (October 5, 2009). "Interview: Pixar's Pete Docter and Jonas Rivera". Radio Times. Archived from the original on May 11, 2011. Retrieved July 27, 2013.
16.^ Jump up to: a b c Price, p. 224
17.Jump up ^ Moriarty (November 5, 2004). "AICN Animation Double-Header! Moriarty Interviews Brad Bird!!". Ain't It Cool News. Archived from the original on July 18, 2007. Retrieved July 27, 2013. "Yeah. We worked on it for a little while, and I’m a huge fan of John Barry. But I kind of wanted him to go back to a style that he used in the past, and use that as kind of a starting place. I think he kind of felt like he’d already done that."
18.Jump up ^ D., Spence (November 4, 2004). "Michael Giacchino Interview". IGN. Retrieved July 27, 2013.
19.Jump up ^ Brad Bird, Michael Giacchino, et al. (2011). The Incredibles. Special Features - Behind the Scenes - More Making of The Incredibles: Music (Blu-ray Disc). Buena Vista Home Entertainment.
20.Jump up ^ "The Incredibles (2004) Awards". The New York Times. Retrieved 2009-03-07.
21.Jump up ^ Patrick Sauriol (December 24, 2004). "SCOOP: Stretching the end of FANTASTIC FOUR".
22.Jump up ^ Pratt, Douglas (March 15, 2005). "The Incredibles DVD Review". Movie City News. Retrieved July 30, 2013. "There's expectations for animation, and, you know, you make this connection with animation and superheroes, you think, 'Saturday morning,' and Saturday morning they have these very strange shows, completely designed around conflict and yet no one ever dies or gets really injured, or there's no consequence to it. I think that came out of, you know, a team of psychologists determined that it is bad for children, and I think just the opposite. I think that it's better if kids realize there's a cost and that if the hero gets injured and still has to fight, it's more dramatic, and it's closer to life."
23.Jump up ^ Cobbs, Maurice. "The Incredibles". DVD Verdict. Retrieved July 30, 2013. "Remember the bad guys on the shows you used to watch on Saturday mornings?" she says. "Well, these guys aren't like those guys. They won't exercise restraint because you are children. They will kill you if they get the chance. Do not give them that chance."
24.^ Jump up to: a b "The Incredibles on DVD March 15". ComingSoon.net. January 17, 2005. Archived from the original on December 10, 2007. Retrieved July 27, 2013.
25.Jump up ^ Price, p. 226
26.Jump up ^ Home Media Retailing (December 30, 2005). "Home Media Retailing Details an 'Incredibles' Year". Business Wire. Retrieved May 10, 2012.
27.Jump up ^ Galindo, David (November 16, 2005). "The Incredibles - PSP Review". IGN. Archived from the original on August 7, 2006. Retrieved July 27, 2013.
28.Jump up ^ J. C. Ribera (January 7, 2011). "Disney/PIXAR's The Incredibles Blu-ray Coming April 12". Blu-Ray.com. Retrieved January 24, 2011.
29.Jump up ^ "The Incredibles [VHS]: Craig T. Nelson, Samuel L. Jackson, Holly Hunter, Jason Lee, Dominique Louis, Teddy Newton, Jean Sincere, Eli Fucile, Maeve Andrews, Wallace Shawn, Spencer Fox, Lou Romano, Brad Bird, Bud Luckey, Roger Gould, John Lasseter, John Walker, Katherine Sarafian: Movies & TV". Amazon.com. Retrieved June 28, 2013.
30.Jump up ^ McCallum, Pat (July 2006). "100 Greatest Villains Ever". Wizard (177).
31.^ Jump up to: a b "The Incredibles – Movie Reviews, Trailers, Pictures". Rottentomatoes.com. Retrieved October 2, 2011.
32.Jump up ^ "Top 100 Animation Movies". Rotten Tomatoes. Retrieved January 3, 2012.
33.Jump up ^ "The Incredibles at Metacritic". Metacritic.com. Retrieved October 2, 2011.
34.Jump up ^ Ebert, Roger (November 4, 2004). "The Incredibles Movie Review & Film Summary (2004)". Roger Ebert. Archived from the original on June 3, 2013. Retrieved July 27, 2013.
35.Jump up ^ Travers, Peter (November 3, 2004). "The Incredibles". Rolling Stone. Retrieved March 20, 2012.
36.Jump up ^ Rozen, Leah (November 15, 2004), "The Incredibles". People. 62 (20):31
37.Jump up ^ "The Incredibles". AccessAtlanta. November 5, 2004. Archived from the original on July 27, 2013. Retrieved October 2, 2011.
38.Jump up ^ Ringel Gillespie, Eleanor. "The Incredibles - Critic Review - Atlanta Journal-Constitution". Rotten Tomatoes. Retrieved July 27, 2013.
39.Jump up ^ Jessica Winter (2004-10-26). "Full Metal Racket". Village Voice. Retrieved 2014-01-10.
40.Jump up ^ Travers, Peter. "10 BEST MOVIES OF THE DECADE - The Incredibles". Rolling Stone. Retrieved August 31, 2012.
41.Jump up ^ Mathewes-Green, Frederica (February 13, 2009). "The Best Conservative Movies of the Last 25 Years". National Review Online. Retrieved March 25, 2013.
42.Jump up ^ Bernardin, Marc (2007-06-18). "The Incredibles | The 25 Greatest Action Films Ever! | Photo 1 of 26". EW.com. Retrieved 2013-07-27.
43.Jump up ^ Bernardin, Marc (2012-08-01). "The Incredibles | Best Animated Movies Ever | Photo 13 of 20". EW.com. Retrieved 2013-07-27.
44.Jump up ^ Pirrello, Phil; Goldman, Eric; Fowler, Matt; Collura, Scott; White, Cindy; Schedeen, Jesse (June 24, 2010). "Top 25 Animated Movies of All-Time". IGN. Retrieved August 15, 2013.
45.Jump up ^ "Movie & TV News @ IMDb.com – Studio Briefing – November 4, 2004". Imdb.com. Archived from the original on October 26, 2011. Retrieved October 2, 2011. "Analysts doubt that Pixar's latest CGI movie, The Incredibles, which opens on Friday, will achieve the same degree of success at the box office as its previous film, Finding Nemo, Investor's Business Daily reported today (Thursday). The newspaper observed that the film will be facing tougher competition from other family films than other Pixar movies had. Among the rivals: Warner Bros.' The Polar Express (Nov. 10), Paramount's The SpongeBob SquarePants Movie, and Paramount's Jim Carrey starrer, Lemony Snicket's A Series of Unfortunate Events. Harris Nesbitt Gerard analyst Jeffrey Logsdon predicted that The Incredibles will gross $225 million domestically and close to $500 million worldwide -- ordinarily a huge result, but well below the $865 million for Pixar's Finding Nemo. It would also be well below the record (for an animated film) $882 million earned by DreamWorks' Shrek 2."
46.Jump up ^ Herndon, Jessica (November 10, 2013). "'Thor: The Dark World' Bashes Box Office With $86M". ABC News. Archived from the original on November 11, 2013. Retrieved November 11, 2013.
47.Jump up ^ "The Incredibles (2004)". Box Office Mojo. Retrieved 2013-08-02.
48.Jump up ^ "2004 DOMESTIC GROSSES". Box Office Mojo. Retrieved March 20, 2012.
49.Jump up ^ "2004 WORLDWIDE GROSSES". Box Office Mojo. Retrieved March 20, 2012.
50.Jump up ^ "The Incredibles (2004)". Box Office Mojo. Retrieved 2013-08-02.
51.Jump up ^ "The 77th Academy Awards (2005) Nominees and Winners". oscars.org. Retrieved November 20, 2011.
52.Jump up ^ "AFI's 10 Top 10 Ballot" (PDF). Retrieved October 2, 2011.
53.^ Jump up to: a b "Movie Marketing Madness: "the Incredibles"". Film Threat. November 3, 2004. Retrieved June 28, 2013.
54.^ Jump up to: a b c d e f g h "Marketers latch on to 'The Incredibles' | News - Advertising Age". Adage.com. October 4, 2004. Retrieved June 28, 2013.
55.Jump up ^ "SDCC 08: Disney and Pixar Go Boom". IGN. July 23, 2008. Retrieved July 27, 2013.
56.^ Jump up to: a b c "The Incredibles: Family Matters: Mark Waid, Marcio Takara: Amazon.com: Books". Amazon.com. Retrieved June 28, 2013.
57.^ Jump up to: a b "The Incredibles Rise of the Underminer: Video Games". Amazon.com. Retrieved June 28, 2013.
58.^ Jump up to: a b "The Incredibles: When Danger Calls: Unknown: Video Games". Amazon.com. Retrieved June 28, 2013.
59.Jump up ^ "Kinect Rush: A Disney Pixar Adventure: Video Games". Amazon.com. Retrieved June 28, 2013.
60.Jump up ^ Narcisse, Evan (December 8, 2011). "Pixar Teams Up With Microsoft For Kinect Rush". Kotaku. Retrieved December 9, 2011.
61.Jump up ^ Hillier, Brenna (July 18, 2013). "Disney Infinity puts the spotlight on The Incredibles". VG247. Retrieved July 27, 2013.
62.Jump up ^ "Finally Pixar is Considering an 'Incredibles' Sequel". Forbes. October 29, 2011. Retrieved June 28, 2013.
63.Jump up ^ "Bird on Toy Story 3 and Incredibles 2". June 22, 2007. Retrieved June 22, 2007.
64.Jump up ^ "Brad Bird on 'Incredibles' Sequel: 'I Would Probably Wanna Do That' (Q&A)". The Hollywood Reporter. May 16, 2013. Retrieved May 16, 2013.
References[edit]
Price, David (2008). The Pixar Touch. New York: Alfred A. Knopf. ISBN 0-307-26575-7.
External links[edit]

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The Iron Giant
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The Iron Giant
The Iron Giant poster.JPG
Theatrical release poster

Directed by
Brad Bird
Produced by
Pete Townshend
Des McAnuff
Allison Abbate
John Walker
Screenplay by
Tim McCanlies
Karey Kirkpatrick (uncredited)
Story by
Brad Bird
 Ted Hughes
Based on
The Iron Man
 by Ted Hughes
Starring
Eli Marienthal
Jennifer Aniston
Harry Connick, Jr.
Vin Diesel
Christopher McDonald
John Mahoney

Music by
Michael Kamen
Cinematography
Steven Wilzbach
Editing by
Darren T. Holmes
Studio
Warner Bros. Feature Animation
Distributed by
Warner Bros. Pictures
Release dates
August 6, 1999

Running time
87 minutes[1][2]
Country
United States
Language
English
Budget
$50[1]–70[2] million
Box office
$31,333,917[1]
The Iron Giant is a 1999 American animated science fiction film using both traditional animation and computer animation, produced by Warner Bros. Animation, and based on the 1968 novel The Iron Man by Ted Hughes. The film was directed by Brad Bird, scripted by Tim McCanlies, and stars Jennifer Aniston, Harry Connick, Jr., Vin Diesel, Eli Marienthal, Christopher McDonald, and John Mahoney.
The film is about a lonely boy named Hogarth raised by his mother (the widow of an Air Force pilot), who discovers an iron giant who fell from space. With the help of a beatnik named Dean, they have to stop the U.S. military and a federal agent from finding and destroying the Giant. The Iron Giant takes place in October 1957 in the American state of Maine during the height of the Cold War.
The film's development phase began around 1994, though the project finally started taking root once Bird signed on as director, and his hiring of Tim McCanlies to write the screenplay in 1996. The script was given approval by Ted Hughes, author of the original novel, and production struggled through difficulties (Bird even enlisted the aid of a group of students from CalArts). The Iron Giant was released by Warner Bros. in the summer of 1999 and received high critical praise. It was nominated for several awards that most notably included the Hugo Award for Best Dramatic Presentation and the Nebula Award from the Science Fiction and Fantasy Writers of America. The film was a financial failure, making only $31.3 million worldwide against a budget of between $50 million and $70 million.


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Development
3.2 Writing
3.3 Animation
3.4 Music
4 Themes
5 Release 5.1 Box office
5.2 Critical response
5.3 Accolades
5.4 Home media
6 References
7 External links

Plot[edit]
In 1957, a giant alien robot from outer space crashes into the ocean near the coast of Rockwell, Maine, and wanders onto the mainland and into the forest, where it becomes entangled and trapped in the power cables of an electrical substation. Nine-year-old Hogarth Hughes follows the trail of destruction through the forest left by the robot, finds it, frees it, and befriends it. The Iron Giant, which has lost its memory, accompanies Hogarth back to the house where he lives with his widowed mother Annie, and to sustain its energy tries to eat the rails off the ties of the nearby railroad tracks. Alarmed by the sound of an oncoming train, Hogarth tells the Giant to repair the tracks. But it takes too long, and the train collides with the Giant. Hogarth hides the damaged robot in their barn, and soon discovers that the individual parts of the robot are self-repairing.
Later that night, Hogarth returns to the barn with a stack of comic books to read to the Giant. The Giant is impressed with Superman, but distressed when he discovers a comic about an evil robot named 'Atomo the Metal Menace'. In response, Hogarth reassures the Giant, "You are who you choose to be". Later, Hogarth is forced to address the issue of death with the Giant when they come across a dead deer.
Investigating the destroyed substation, U.S. government agent Kent Mansley discovers evidence of the Giant, and decides to continue his inquiries in nearby Rockwell. Finding a BB gun that Hogarth left near the substation the night he found the Giant, Mansley takes up a room for rent at Hogarth's home and secretly follows the boy around hoping to learn more. He is paranoid about an alien invasion, and alerts the U.S. Army to the possible presence of the Giant. Worried that they will get caught, Hogarth evades Mansley and takes the Giant to beatnik artist Dean McCoppin, who passes off the robot as one of his works of scrap-metal art when Mansley and Lieutenant General Shannon Rogard investigate. Once Mansley and Rogard are gone, Hogarth plays with the Giant using a toy gun, but inadvertently causes the Giant to activate its defense mechanism. Dean saves Hogarth and angrily commands the Giant to leave, but Hogarth, believing the Giant never meant to harm him, gives chase. Dean sees the toy gun and realizes that the Giant was reacting defensively against the gun. He catches up with Hogarth on his motorbike and they chase after the Giant as he reaches the town.
In Rockwell, the Giant saves two boys, instantly getting on the good side of the bewildered citizen witnesses, and leading to the Giant telling Hogarth that he chooses not to be a gun. Unfortunately, the Giant is seen by the military and attacked. The Giant flees with Hogarth and finds the ability to fly, but is shot down by a missile fired from an F-86. After crash-landing, the Giant thinks the unconscious Hogarth is dead; enraged, it activates a massive arsenal of energy weapons and attacks the Army, who are no match for the Giant's advanced firepower. Mansley fools Rogard into thinking that the robot killed Hogarth, before telling him to lure the Giant out to sea so they can destroy it with a nuclear ballistic missile from the USS Nautilus. Hogarth wakes up and pacifies the Giant, easing him to deactivate his weapons. He then shows himself to Rogard and his men. Meanwhile, Dean explains to Rogard that the Giant never killed Hogarth or anyone, but just as Rogard tells his men to stand down and calls off the Nautilus for good, Mansley still believes that the Giant is a threat to the town and snatches the walkie-talkie, and orders the launch. Rogard lambastes Mansley and informs him that the missile will vaporize not only the Giant, but everyone in Rockwell as well. Mansley refuses to take note of the town's fate and tries to escape Rockwell in order to save himself, but the Giant stops him and he is arrested by the Army. When Hogarth tells the Giant about Rockwell's fate, the Giant flies off to intercept the missile. With a smile of satisfaction, comparing himself to Superman, the Giant collides with the missile, causing a massive explosion high up in the atmosphere. The people of the town recognize the Giant as a hero, but are deeply saddened by the Giant's sacrifice.
Sometime later, Annie and Dean start a relationship, and Dean builds a statue honoring the Giant. Hogarth receives a package from General Rogard, containing the only piece of the Giant they found, a small jaw bolt. That night, Hogarth awakens to a familiar beeping coming from the bolt, which is trying to get out his window. He opens the window to let the bolt out. On the Langjökull glacier in Iceland, various parts of the robot approach the snowdrift where the head rests, as the Iron Giant wakes up and smiles.
Cast[edit]



Christopher McDonald, Brad Bird and Eli Marienthal in March 2012 at the Iron Giant screening at the LA Animation FestivalEli Marienthal as Hogarth Hughes, an energetic, young, curious boy with an active imagination.
Jennifer Aniston as Annie Hughes, a widow and Hogarth's single mother. She works in the local cafe as a Waitress. She later becomes Dean's love interest.
Harry Connick, Jr. as Dean McCoppin, a beatnik artist and junkyard owner who "sees art where others see junk".
Vin Diesel as The Iron Giant, a fifty-foot, metal-eating robot.[3] The Giant reacts defensively if it recognizes anything as a weapon, immediately attempting to destroy it, but can't stop himself. The specific creator of the giant is never revealed. In a deleted scene, he has a brief vision of robots similar to him destroying a different planet. Peter Cullen was considered to do the voice.


 Vin Diesel voiced the Iron Giant
Christopher McDonald as Kent Mansley, an arrogant, ambitious and paranoid government agent sent to investigate sightings and wreckage's left by the Iron Giant. The logo on his official government car says he is from the "Bureau of Unexplained Phenomena."
John Mahoney as General Shannon Rogard,[3] the military leader in Washington, D.C. who strongly dislikes Mansley.
M. Emmet Walsh as Earl Stutz, a sailor and the first man to see the robot.
James Gammon as Marv Loach, a foreman who follows the robot's trail after it destroys the power station.
Cloris Leachman as Mrs. Tensedge, Hogarth's schoolteacher.
Production[edit]
Development[edit]
In 1986, rock musician Pete Townshend became interested in writing "a modern song-cycle in the manner of Tommy",[4] and chose Ted Hughes' The Iron Man as his subject. Three years later, The Iron Man: A Musical album was released. The same year Pete Townshend produced a short film set to the album single "A Friend is a Friend" featuring The Iron Man in a mix of stop frame animation and live action directed by Matt Forrest. In 1993, a stage version was mounted at London’s Old Vic. Des McAnuff, who had adapted Tommy with Townshend for the stage, believed that The Iron Man could translate to the screen, and the project was ultimately acquired by Warner Bros.[4]
In late 1996, while developing the project on its way through, the studio saw the film as a perfect vehicle for Brad Bird, who at the time was working for Turner Feature Animation.[4] Turner Entertainment had recently merged with Warner Bros. parent company Time Warner, and Bird was allowed to transfer to the Warner Bros. Animation studio to direct The Iron Giant.[4] After reading the original Iron Man book by Hughes, Bird was impressed with the mythology of the story and in addition, was given an unusual amount of creative control by Warner Bros.[4] This creative control involved introducing two new characters not present in the original book: Dean and Kent. Bird's pitch to Warner Bros. was based around the idea "What if a gun had a soul?"[5] Bird decided to have the story set to take place in the 1950s as he felt the time period "presented a wholesome surface, yet beneath the wholesome surface was this incredible paranoia. We were all going to die in a freak-out."
The financial failure of Warner Bros.' previous animated effort, Quest for Camelot, whose cost overruns and production nightmares made the company reconsider their commitment to feature animation, helped shape The Iron Giant's production considerably. In a 2003 interview, writer Tim McCanlies recalled "Quest for Camelot did so badly that everybody backed away from animation and fired people. Suddenly we had no executive anymore on Iron Giant, which was great because Brad got to make his movie. Because nobody was watching." Bird, who regarded Camelot as "trying to emulate the Disney style," attributed the creative freedom on The Iron Giant to the bad experience of Quest for Camelot, stating: "I caught them at a very strange time, and in many ways a fortuitous time." By the time The Iron Giant entered production, Warner Bros. informed the staff that there would be a smaller budget as well as time-frame to get the film completed. Although the production was watched closely, Bird commented "They did leave us alone if we kept it in control and showed them we were producing the film responsibly and getting it done on time and doing stuff that was good." Bird regarded the tradeoff as having "one-third of the money of a Disney or DreamWorks film, and half of the production schedule," but the payoff as having more creative freedom, describing the film as "fully-made by the animation team; I don't think any other studio can say that to the level that we can."
Writing[edit]
Tim McCanlies was hired to write the script, though Bird was somewhat displeased with having another writer on board, as he himself wanted to write the screenplay.[6] He later changed his mind after reading McCanlies' unproduced screenplay for Secondhand Lions.[4] In Bird's original story treatment, America and the USSR were at war at the end, with the Giant dying. McCanlies decided to have a brief scene displaying his survival, stating, "You can't kill E.T. and then not bring him back." McCanlies finished the script within two months, and was surprised once Bird convinced the studio not to use Townshend's songs. Townshend did not care either way, saying "Well, whatever, I got paid."[6] McCanlies was given a three-month schedule to complete a script, and it was by way of the film's tight schedule that Warner Bros. "didn't have time to mess with us" as McCanlies said.[7] Hughes himself was sent a copy of McCanlies' script and sent a letter back, saying how pleased he was with the version. In the letter, Hughes stated, "I want to tell you how much I like what Brad Bird has done. He’s made something all of a piece, with terrific sinister gathering momentum and the ending came to me as a glorious piece of amazement. He’s made a terrific dramatic situation out of the way he’s developed The Iron Giant. I can’t stop thinking about it."[4]
Animation[edit]
Bird opted to produce The Iron Giant entirely in the widescreen CinemaScope format, but was warned against doing so by his advisers. Bird felt it was appropriate to use the format, as many films from the late 1950s were produced in such widescreen formats, and was eventually allowed to produce the feature in the wide 2.39:1 CinemaScope aspect ratio [8] It was decided to animate the Giant using computer-generated imagery as the various animators working on the film found it hard "drawing a metal object in a fluid-like manner."[4] A new computer program was created for this task, while the art of Norman Rockwell, Edward Hopper and N.C. Wyeth inspired the design. Bird brought in students from CalArts to assist in minor animation work due to the film's busy schedule. The Giant's voice was originally to be electronically modulated but the filmmakers decided they "needed a deep, resonant and expressive voice to start with", and were about to hire Peter Cullen, due to his history with voice acting robot characters, but due to Cullen's unavailability at the time, Vin Diesel was hired instead.[4] Cullen did some voice-over work for the film's theatrical trailer. Teddy Newton, a storyboard artist, played an important role in shaping the film's story. Newton's first assignment on staff involved being asked by Bird to create a film within a film to reflect the "hygiene-type movies that everyone saw when the bomb scare was happening."
Newton came to the conclusion that a musical number would be the catchiest alternative, and the "Duck and Cover sequence" came to become one of the crew members' favorites of the film.[9] Nicknamed "The X-Factor" by story department head Jeffery Lynch, the producers gave him artistic freedom on various pieces of the film's script.[10]
Music[edit]
The score for the film was composed and conducted by Michael Kamen. Bird's original temp score, "a collection of Bernard Hermann cues from 50's and 60's sci-fi films," initially scared Kamen.[11] Believing the sound of the orchestra is important to the feeling of the film, Kamen "decided to comb eastern Europe for an "old-fashioned" sounding orchestra and went to Prague to hear Vladimir Ashkenazy conduct the Czech Philharmonic in Strauss's An Alpine Symphony." Eventually, the Czech Philharmonic was the orchestra used for the film's score, with Bird describing the symphony orchestra as "an amazing collection of musicians."[12] The score for The Iron Giant was recorded in a rather unconventional manner, compared to most films: recorded over one week at the Rudolfinum in Prague, the music was recorded without conventional uses of syncing the music, in a method Kamen described in a 1999 interview as "[being able to] play the music as if it were a piece of classical repertoire."[11] Kamen's score for the feature was nominated and won an Annie Award for Music in an Animated Feature Production on November 6, 1999.[13]
Themes[edit]
The film is set in 1957 during a period of the Cold War characterized by escalation in tension between the United States and the Soviet Union. In 1957, Sputnik was launched, raising the possibility of nuclear attack from space. Anti-communism and the potential threat of nuclear destruction cultivated an atmosphere of fear and paranoia which also led to a proliferation of films about alien invasion. In one scene, Hogarth's class is seen watching an animated film named Atomic Holocaust, based on Duck and Cover, an actual film that offered advice on how to survive if the USSR bombed the USA. The film also has an anti-gun message in it. When the Iron Giant sees a deer get killed by hunters, the Iron Giant notices two rifles discarded by the deer's body. The Iron Giant's eyes turn red showing hostility to any gun. It is repeated throughout the film, "Guns kill." and "You're not a gun." Despite the anti-war and anti-gun themes, the film avoids demonizing the military, and presents General Rogard as an essentially rational and sympathetic figure, in contrast to the power-hungry civilian Mansley. Hogarth's message to the giant, "You are who you choose to be", played a pivotal role in the film. Writer Tim McCanlies commented that "At a certain point, there are deciding moments when we pick who we want to be. And that plays out for the rest of your life." McCanlies said that movies can provide viewers with a sense of right and wrong, and expressed a wish that the movie would "make us feel like we're all part of humanity [which] is something we need to feel." [7]
Release[edit]
Box office[edit]
"We had toy people and all of that kind of material ready to go, but all of that takes a year! Burger King and the like wanted to be involved. In April we showed them the movie, and we were on time. They said, "You'll never be ready on time." No, we were ready on time. We showed it to them in April and they said, "We'll put it out in a couple of months." That's a major studio, they have 30 movies a year, and they just throw them off the dock and see if they either sink or swim, because they've got the next one in right behind it. After they saw the reviews they [Warner Bros.] were a little shamefaced."
— Writer Tim McCanlies on Warner Bros.' marketing approach[6]
The Iron Giant opened on August 6, 1999 in the United States in 2,179 theaters, ranking at No. 9 accumulating $5,732,614 over its opening weekend. The film went on to gross $23,159,305 domestically and $8,174,612 internationally to make a total of $31,333,917 worldwide,[1][2] making it a box office failure. In an interview with Brad Bird, IGN stated that it was "a mis-marketing campaign of epic proportions at the hands of Warner Bros., they simply didn't realize what they had on their hands."[14] Tim McCanlies said, "I wish that Warner had known how to release it."[6]
Lorenzo di Bonaventura, president of Warner Bros. at the time, explained, "People always say to me, 'Why don't you make smarter family movies?' The lesson is, Every time you do, you get slaughtered."[15] Stung by criticism that it mounted an ineffective marketing campaign for its theatrical release, Warner Bros. revamped its advertising strategy for the video release of the film, including tie-ins with Honey Nut Cheerios, AOL and General Motors[16] and secured the backing of three U.S. congressmen (Ed Markey, Mark Foley and Howard Berman).[17]


Critical response[edit]
Despite failing at the box office, The Iron Giant received universal critical acclaim from critics; based on 111 reviews collected by Rotten Tomatoes, The Iron Giant received an overall 97% "Certified Fresh" approval rating, with an average score of 8.1/10. The consensus reads: "Engaging, endearing, affecting and charmingly retro, The Iron Giant tackles touchy subjects and complex relationships with a steady hand and beautiful animation direction from Brad Bird."[18] Metacritic calculated an average score of 85 (out of 100) from the 27 reviews it collected, which indicates "Universal Acclaim".[19] The film has since then gathered a cult following.[14] The cable television network Cartoon Network showed the film annually on Thanksgiving for 24 hours straight in the early 2000s.[20]
Roger Ebert very much liked the Cold War setting, feeling "that's the decade when science fiction seemed most preoccupied with nuclear holocaust and invaders from outer space." In addition he was impressed with parallels seen in E.T. the Extra-Terrestrial and wrote, "[The Iron Giant] is not just a cute romp but an involving story that has something to say."[21] In response to the E.T. parallels, Bird said, "E.T. doesn't go kicking ass. He doesn't make the Army pay. Certainly you risk having your hip credentials taken away if you want to evoke anything sad or genuinely heartfelt."[8] IGN extolled the film in a 2004 review as "the best non-Disney animated film".[20]
Peter Stack of the San Francisco Chronicle agreed that the storytelling was far superior to other animated films, and cited the characters as plausible and noted the richness of moral themes.[22] Jeff Millar of the Houston Chronicle agreed with the basic techniques as well, and concluded the voice cast being excelled with a great script by Tim McCanlies.[23]


Accolades[edit]
The Hugo Awards nominated The Iron Giant for Best Dramatic Presentation,[24] while the Science Fiction and Fantasy Writers of America honored Brad Bird and Tim McCanlies with the Nebula Award nomination.[25] The British Academy of Film and Television Arts gave the film a Children's Award as Best Feature Film.[26] In addition The Iron Giant won nine Annie Awards and was nominated for another six categories,[27] with another nomination for Best Home Video Release at The Saturn Awards.[28] IGN ranked The Iron Giant as the fifth favorite animated film of all time in a list published in 2010.[29]
The American Film Institute nominated The Iron Giant for its Top 10 Animated Films list.[30]
Home media[edit]
The Iron Giant was released on DVD and VHS on November 23, 1999.[31] The Special Edition DVD was released on November 16, 2004.[32]
References[edit]
1.^ Jump up to: a b c d "The Iron Giant". The Numbers. Retrieved 17 November 2012.
2.^ Jump up to: a b c "The Iron Giant (1999)". Box Office Mojo. Retrieved 2008-01-14.
3.^ Jump up to: a b "The Iron Giant - Making the Movie". Warner Bros. Retrieved July 27, 2013. "What he does find is a 50-foot giant with an insatiable appetite for metal and a childlike curiosity about its new world."
4.^ Jump up to: a b c d e f g h i "The Making of The Iron Giant". Warner Bros. Archived from the original on 2006-03-21. Retrieved 2008-01-14.
5.Jump up ^ Rob Blackwelder (July 19, 1999). "A "Giant" Among Animators". SplicedWire. Retrieved February 25, 2011.
6.^ Jump up to: a b c d Black, Lewis (2003-09-19). "More McCanlies, Texas". The Austin Chronicle. Archived from the original on 2010-08-12. Retrieved 2008-01-15.
7.^ Jump up to: a b Holleran, Scott (2003-10-16). "Iron Lion: An Interview with Tim McCanlies". Box Office Mojo. Archived from the original on 2010-08-12. Retrieved 2008-01-15.
8.^ Jump up to: a b Sragow, Michael (1999-08-05). "Iron Without Irony". Salon Media Group. Archived from the original on 2010-08-12. Retrieved 2008-01-15.
9.Jump up ^ Brad Bird (2004). DVD commentary for The Iron Giant (DVD). Warner Home Video.
10.Jump up ^ Brad Bird, Jeffery Lynch, et al. (2004). The Iron Giant Special Edition. Special Features: Teddy Newton "The X-Factor" (DVD). Warner Home Video.
11.^ Jump up to: a b Dan Goldwasser (September 4, 1999). "Interview with Michael Kamen". SoundtrackNet. Retrieved February 25, 2011.
12.Jump up ^ Presenters: Vin Diesel and Brad Bird (August 1, 1999). "The Making of: The Iron Giant". 22:07 minutes in. The WB.
13.Jump up ^ Patricia Biederman (November 8, 1999). "Giant Towers Over Its Rivals". Los Angeles Times. Retrieved February 25, 2011.
14.^ Jump up to: a b Otto, Jeff (2004-11-04). "Interview: Brad Bird". IGN. Archived from the original on 2010-08-12. Retrieved 2008-01-14.
15.Jump up ^ Irwin, Lew (1999-08-30). "The Iron Giant Produces A Thud". Internet Movie Database. Retrieved 2008-01-15.
16.Jump up ^ Irwin, Lew (1999-11-23). "Warner Revamps Ad Campaign For The Iron Giant". Internet Movie Database. Retrieved 2008-01-15.
17.Jump up ^ "The Iron Giant Lands on Capital Hill". Time Warner. November 4, 1999. Retrieved July 18, 2013.
18.Jump up ^ "The Iron Giant (1999)". Rotten Tomatoes. Retrieved 2009-04-05.
19.Jump up ^ "Iron Giant, The (1999): Reviews". Metacritic. Retrieved 2008-01-14.
20.^ Jump up to: a b Patrizio, Andy (2004-11-02). "The Iron Giant: Special Edition - DVD Review at IGN". IGN. Archived from the original on 2010-08-12. Retrieved 2010-06-24.
21.Jump up ^ Ebert, Roger (1999-08-06). "The Iron Giant review". Chicago Sun-Times. Archived from the original on 2010-08-12. Retrieved 2008-01-14.
22.Jump up ^ Stack, Peter (1999-08-06). "'Giant' Towers Above Most Kid Adventures". San Francisco Chronicle. Archived from the original on 2010-08-12. Retrieved 2008-01-14.
23.Jump up ^ Millar, Jeff (2004-04-30). "The Iron Giant". Houston Chronicle. Retrieved 2008-01-14.[dead link]
24.Jump up ^ "Hugo Awards: 2000". Internet Movie Database. Retrieved 2008-01-14.
25.Jump up ^ "Nebula Award: 2000". Internet Movie Database. Retrieved 2008-01-14.
26.Jump up ^ "BAFTA Awards: 2000". Internet Movie Database. Retrieved 2008-01-14.
27.Jump up ^ "Annie Awards: 1999". Internet Movie Database. Retrieved 2008-01-14.
28.Jump up ^ "The Saturn Awards: 2000". Internet Movie Database. Retrieved 2008-01-14.
29.Jump up ^ "Top 25 Animated Movies of All Time". IGN. 2010-06-24. Retrieved 2010-09-06.
30.Jump up ^ AFI's 10 Top 10 Ballot
31.Jump up ^ "Animation World News - Some Additional Announcements About The Iron Giant DVD.". Animation World Magazine (4.8). November 1999. Retrieved May 5, 2013.
32.Jump up ^ "Iron Giant SE Delayed". IGN. July 22, 2004. Retrieved May 5, 2013.
Further readingHughes, Ted (3 March 2005). The Iron Man (Paperback). Reprinting of novel on which this film is based. Faber Children's Books. ISBN 0571226124.
Hughes, Ted; Moser, Barry (31 August 1995). The Iron Woman (Hardcover). Sequel to The Iron Man. Amazon Remainders Account. ISBN 0803717962.
External links[edit]

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The Iron Giant at Open Directory Project


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War and Peace (1956 film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


War and Peace
Poster - War and Peace (1956) 03.jpg
Theatrical poster

Directed by
King Vidor
Produced by
Dino De Laurentiis
Carlo Ponti
Screenplay by
Bridget Boland
Robert Westerby
King Vidor
Mario Camerini
Ennio De Concini
Ivo Perilli
Gian Gaspare Napolitano
Mario Soldati
Based on
War and Peace
 by Leo Tolstoy
Starring
Audrey Hepburn
Henry Fonda
Mel Ferrer
Oscar Homolka
Anita Ekberg
Music by
Nino Rota
Cinematography
Jack Cardiff
Editing by
Leo Cattozzo
Distributed by
Paramount Pictures
Release dates
August 21, 1956

Running time
208 minutes
Language
English
Budget
$6 million
Box office
$6.25 million (rentals)[1]
War and Peace is the first English-language film version of the novel War and Peace by Leo Tolstoy. It is an American/Italian version, directed by King Vidor and produced by Dino De Laurentiis and Carlo Ponti. The music score was by Nino Rota and the cinematography by Jack Cardiff. The film was made by Dino de Laurentiis Productions and distributed by Paramount Pictures.
The film stars Audrey Hepburn, Henry Fonda, and Mel Ferrer, along with Vittorio Gassman, Herbert Lom and Anita Ekberg, in one of her first breakthrough roles. It was awarded the Golden Globe for Best Foreign-Language Foreign Film and it had Academy Awards nominations for Best Director (King Vidor), Best Cinematography, Color (Jack Cardiff) and Best Costume Design, Color (Maria De Matteis).


Contents  [hide]
1 Differences from the novel
2 Cast
3 Gallery
4 See also
5 References
6 External links

Differences from the novel[edit]
The film script had to condense the extensive original. It is primarily focused on Natasha, Pierre, and Andrei, their complex relationship and personal maturation on the backdrop of the historical events of the Napoleonic invasion. In Moscow, most of the scenes take place at the Rostov residence, and episodes at the country estates are curtailed, with some exceptions such as the hunt where Natasha first meets Andrei. This is a condensation of two scenes at the Rostov country estate, since in the novel Andrei, who by then is already Natasha's fiancé, is not present at the hunt. There are no scenes from St. Petersburg. The relationship between Nikolas, Sonya and Mary is toned down. Historical figures that are retained are General Kutuzov and Napoleon. Minor battles are omitted, while Napoleon's crossing of the Berezina is added. The concept of the inner dialogue is retained, notably in regard to Natasha, but the extensive use of French is not retained in the movie. Events of the epilogue are not included in the movie, nor are Tolstoy's discourses about history.
Cast[edit]
Audrey Hepburn as Natasha Rostova
Henry Fonda as Count Pierre Bezukhov
Mel Ferrer as Prince Andrei Bolkonsky
Vittorio Gassman as Anatole Kuragine
Herbert Lom as Napoleon
Oscar Homolka as General Kutuzov
Anita Ekberg as Helene
Helmut Dantine as Dolokhov
Tullio Carminati as Prince Vasili Kuragine
Barry Jones as Count Rostov
Milly Vitale as Lise
Lea Seidl as Countess Rostova
Anna-Maria Ferrero as Mary Bolkonskaya
Wilfrid Lawson as Prince Bolkonsky (credited as Wilfred Lawson)
May Britt as Sonya Rostova
Jeremy Brett as Nicholas Rostov
John Mills as Platon Karataev
Patrick Crean as Denisov
Sean Barrett as Petya Rostov
Alan Furlan as Russian Officer
Gallery[edit]




Audrey Hepburn and Mel Ferrer in the set of War and Peace in 1955




Screenshot of Audrey Hepburn in the role of Natasha and Mel Ferrer as Prince Andrei

See also[edit]
War and Peace - 1966-67 film series directed by Sergei Bondarchuk
War and Peace - 1972 TV 20-part BBC Production.
War and Peace - 2007 TV 4-Part Mini Series.
War and Peace - 1941 Opera composed by Sergei Prokofieff.
References[edit]
1.Jump up ^ 'The Top Box-Office Hits of 1956', Variety Weekly, January 2, 1957.
External links[edit]
 Wikimedia Commons has media related to War and Peace.
War and Peace at the Internet Movie Database


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Films directed by King Vidor





























































































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Leo Tolstoy's War and Peace (1869)



















































 


Categories: 1956 films
English-language films
Film scores by Nino Rota
1950s drama films
Epic films
Films based on War and Peace
Films directed by King Vidor
Films shot in VistaVision
Paramount Pictures films




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War and Peace (1956 film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


War and Peace
Poster - War and Peace (1956) 03.jpg
Theatrical poster

Directed by
King Vidor
Produced by
Dino De Laurentiis
Carlo Ponti
Screenplay by
Bridget Boland
Robert Westerby
King Vidor
Mario Camerini
Ennio De Concini
Ivo Perilli
Gian Gaspare Napolitano
Mario Soldati
Based on
War and Peace
 by Leo Tolstoy
Starring
Audrey Hepburn
Henry Fonda
Mel Ferrer
Oscar Homolka
Anita Ekberg
Music by
Nino Rota
Cinematography
Jack Cardiff
Editing by
Leo Cattozzo
Distributed by
Paramount Pictures
Release dates
August 21, 1956

Running time
208 minutes
Language
English
Budget
$6 million
Box office
$6.25 million (rentals)[1]
War and Peace is the first English-language film version of the novel War and Peace by Leo Tolstoy. It is an American/Italian version, directed by King Vidor and produced by Dino De Laurentiis and Carlo Ponti. The music score was by Nino Rota and the cinematography by Jack Cardiff. The film was made by Dino de Laurentiis Productions and distributed by Paramount Pictures.
The film stars Audrey Hepburn, Henry Fonda, and Mel Ferrer, along with Vittorio Gassman, Herbert Lom and Anita Ekberg, in one of her first breakthrough roles. It was awarded the Golden Globe for Best Foreign-Language Foreign Film and it had Academy Awards nominations for Best Director (King Vidor), Best Cinematography, Color (Jack Cardiff) and Best Costume Design, Color (Maria De Matteis).


Contents  [hide]
1 Differences from the novel
2 Cast
3 Gallery
4 See also
5 References
6 External links

Differences from the novel[edit]
The film script had to condense the extensive original. It is primarily focused on Natasha, Pierre, and Andrei, their complex relationship and personal maturation on the backdrop of the historical events of the Napoleonic invasion. In Moscow, most of the scenes take place at the Rostov residence, and episodes at the country estates are curtailed, with some exceptions such as the hunt where Natasha first meets Andrei. This is a condensation of two scenes at the Rostov country estate, since in the novel Andrei, who by then is already Natasha's fiancé, is not present at the hunt. There are no scenes from St. Petersburg. The relationship between Nikolas, Sonya and Mary is toned down. Historical figures that are retained are General Kutuzov and Napoleon. Minor battles are omitted, while Napoleon's crossing of the Berezina is added. The concept of the inner dialogue is retained, notably in regard to Natasha, but the extensive use of French is not retained in the movie. Events of the epilogue are not included in the movie, nor are Tolstoy's discourses about history.
Cast[edit]
Audrey Hepburn as Natasha Rostova
Henry Fonda as Count Pierre Bezukhov
Mel Ferrer as Prince Andrei Bolkonsky
Vittorio Gassman as Anatole Kuragine
Herbert Lom as Napoleon
Oscar Homolka as General Kutuzov
Anita Ekberg as Helene
Helmut Dantine as Dolokhov
Tullio Carminati as Prince Vasili Kuragine
Barry Jones as Count Rostov
Milly Vitale as Lise
Lea Seidl as Countess Rostova
Anna-Maria Ferrero as Mary Bolkonskaya
Wilfrid Lawson as Prince Bolkonsky (credited as Wilfred Lawson)
May Britt as Sonya Rostova
Jeremy Brett as Nicholas Rostov
John Mills as Platon Karataev
Patrick Crean as Denisov
Sean Barrett as Petya Rostov
Alan Furlan as Russian Officer
Gallery[edit]




Audrey Hepburn and Mel Ferrer in the set of War and Peace in 1955




Screenshot of Audrey Hepburn in the role of Natasha and Mel Ferrer as Prince Andrei

See also[edit]
War and Peace - 1966-67 film series directed by Sergei Bondarchuk
War and Peace - 1972 TV 20-part BBC Production.
War and Peace - 2007 TV 4-Part Mini Series.
War and Peace - 1941 Opera composed by Sergei Prokofieff.
References[edit]
1.Jump up ^ 'The Top Box-Office Hits of 1956', Variety Weekly, January 2, 1957.
External links[edit]
 Wikimedia Commons has media related to War and Peace.
War and Peace at the Internet Movie Database


[show]
v ·
 t ·
 e
 
Films directed by King Vidor





























































































[show]
v ·
 t ·
 e
 
Leo Tolstoy's War and Peace (1869)



















































 


Categories: 1956 films
English-language films
Film scores by Nino Rota
1950s drama films
Epic films
Films based on War and Peace
Films directed by King Vidor
Films shot in VistaVision
Paramount Pictures films




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Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy.
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War and Peace (1972 TV series)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


War and Peace
War and Peace TV mini series DVD cover
DVD cover

Format
Historical fiction
Created by
David Conroy
Starring
Anthony Hopkins
Alan Dobie
Morag Hood
Angela Down
Country of origin
United Kingdom
No. of episodes
20
Production

Running time
15 hours
Broadcast

Original channel
BBC
Original run
30 September 1972 – 8 February 1973
War and Peace is a television dramatization of the Leo Tolstoy novel of War and Peace. This 20 episode series began on 28 September 1972.
The BBC dramatisation of Tolstoy's epic story of love and loss set against the backdrop of the Napoleonic Wars. Anthony Hopkins heads the cast as the soul-searching Pierre Bezukhov, Morag Hood is the impulsive and beautiful Natasha Rostova, Alan Dobie is the dour, heroic Andrei Bolkonsky and David Swift is Napoleon, whose decision to invade Russia in 1812 has far-reaching consequences for Pierre and the Rostov and Bolkonsky families.
The twenty-part serial was produced by David Conroy. His aim was to transfer the characters and plot from Tolstoy's magnum opus to television drama to run for 15 hours (actually closer to 17). Scripted by Jack Pulman and directed by John Davies, Conroy's War and Peace had battle sequences which were filmed in Yugoslavia. The production designer Don Homfray won a BAFTA for his work on the series.[1]
This dramatization differs from previous ones in that it preserves many of Tolstoy's "minor" characters — notably Platon Karataev, played by Harry Locke.


Contents  [hide]
1 Cast
2 DVD release
3 See also
4 References
5 External links

Cast[edit]
Anthony Hopkins as Pierre Bezukhov
Alan Dobie as Andrey Nikolayevich Bolkonsky
Morag Hood as Natasha Rostova
Angela Down as Maria Bolkonskaya
Rupert Davies as Count Rostov
Faith Brook as Countess Rostova
David Swift as Napoleon Bonaparte
Frank Middlemass as Mikhail Kutuzov
Sylvester Morand as Nikolai Rostov
Joanna David as Sonya Rostova
Harry Locke as Platon Karataev
Donald Douglas as Tsar Alexander I of Russia
John Cazabon as Barclay de Tolly
Fiona Gaunt as Helene Kuragin, married to Pierre Bezukhov
Anthony Jacobs as Prince Nikolay Bolkonsky, father of Andrey Bolkonsky
Athene Fielding as Mademoiselle Bourienne
Barnaby Shaw and Rufus Frampton as Petya Rostov
Peter Bathurst as Pfuhl
Morris Perry as Joseph Fouché
Geoffrey Morris as Napoleon's secretary
Michael Gover as General Balashev
Toby Bridge as young Nikolenka Bolkonsky
Neil Stacy as Boris Drubetskoy
Anne Blake as Princess Drubetskoya
Gary Watson as Denisov
Donald Burton as Dolokhov
Tony Steedman as Marshal Davout
Joseph Wise as Russian officer
Colin Baker as Anatole Kuragin
Basil Henson as Prince Vasili Kuragin
Josie Kidd as Katishe
James Appleby as German adjutant
Gerard Hely as Prince Murat
Michael Billington as Lt. Berg
Will Leighton as Tikhon
Patricia Shakesby as Vera Rostova, married to Berg
Alison Frazer as Princess Lisa Bolkonskya
Richard Hurndall as Count Rostopchin
John Breslin as Marshal Berthier
Pat Gorman as French Sergeant
Philip Lowrie as French Captain
Edmund Bailey as Prokofy
Hugh Cross as Mitenka
Richard Poore as French messenger
Barbara Young as Anna Scherer
Karin MacCarthy as Julie Karagin
Maurice Quick as Pavel
Roy Spencer as Timohin
Hubert Cross as General Rapp
Geoffrey Denton as Host
Tenniel Evans as Prince Bagration
Gordon Faith—Galitsyn
John Lawrence as Anna's guest
Judith Pollard as Olga
Edith Sharpe as Madame Scherer
Tony Caunter as French Corporal
Erik Chitty as Gerasim
DVD release[edit]
The series was released in a Region 2 4-DVD boxset by DD Home Entertainment in 2005. The set is accompanied by an illustrated booklet, written by Andy Priestner, which provides a detailed account of how the series was made.
See also[edit]
War and Peace (1956 film), version directed by King Vidor
War and Peace (1966-67 film), Soviet-produced version, directed by Sergei Bondarchuk
War and Peace (2015 TV series)
References[edit]
1.Jump up ^ Gill Ducker Other Lives: Don Homfray, The Guardian, 23 March 2012
External links[edit]
War and Peace at the Internet Movie Database
List of War and Peace episodes at BBC Programmes


[hide]
v ·
 t ·
 e
 
Leo Tolstoy's War and Peace (1869)


Main characters
Pierre Bezukhov ·
 Andrei Bolkonsky ·
 Natasha Rostova ·
 Nikolai Rostov ·
 Hélène Kuragin ·
 Anatol Kuragin ·
 All characters
 

Historical characters
Napoleon ·
 Mikhail Kutuzov ·
 Pyotr Bagration ·
 Fyodor Rostopchin ·
 Alexander I of Russia
 

Events
Battle of Schöngrabern ·
 Battle of Austerlitz ·
 Treaties of Tilsit ·
 Battle of Borodino ·
 Fire of Moscow ·
 Battle of Krasnoi ·
 French invasion of Russia ·
 Napoleonic Wars
 

Adaptations
War and Peace (opera) ·
 War and Peace (1956 film) ·
 War and Peace (1966-67 Russian-French-German film series) ·
 War and Peace (1972 TV series) ·
 War and Peace (2007 Russian-French-Italian-German TV miniseries) ·
 War and Peace (2015 TV series) ·
 Natasha, Pierre & the Great Comet of 1812 (2012 musical)
 

Related
War and Peace (game) ·
 War and Peace: 1796–1815 (video game)
 

 


Categories: 1970s British television series
1972 British television programme debuts
1973 British television programme endings
BBC television dramas
Films based on War and Peace
Period television series




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War and Peace (2007 TV miniseries)
From Wikipedia, the free encyclopedia
Jump to: navigation, search

War and Peace is a 2007 Russian-French-Italian-German miniseries directed by Robert Dornhelm. It was broadcast in Belgium (RTBF) and in France (France 2) in four parts during October and November 2007. It was inspired by Leo Tolstoy's novel War and Peace, which also is divided into four parts. The actors are of different nationalities.
Cast[edit]
Alexander Beyer – Pierre Bezukhov
Clémence Poésy – Natasha Rostova
Alessio Boni – Andrei Bolkonsky
Malcolm McDowell – Prince Bolkonsky, the father
Andrea Giordana – Count Rostov
Brenda Blethyn – Márja Dmitriyevna Achrosímova
Violante Placido – Helene Kuragina
Toni Bertorelli – Vasily Kuragin
Hannelore Elsner – Countess Rostova
Benjamin Sadler – Dolokhov
Pilar Abella – Mademoiselle Bourienne
Ken Duken – Anatole Kuragin
Hary Prinz – Denisov
Vladimir Ilyin – Kutuzov
Dmitriy Isaev – Nikolai Rostov
Valentina Cervi – Maria Bolkonskaya
Elodie Frenck – Lise
Scali Delpeyrat – Napoléon
Frédéric Gorny – Ramballe
Igor Kostolevsky – Tsar Alexander
Ana Caterina Morariu – Sonja
External links[edit]
War and Peace at the Internet Movie Database


[hide]
v ·
 t ·
 e
 
Leo Tolstoy's War and Peace (1869)


Main characters
Pierre Bezukhov ·
 Andrei Bolkonsky ·
 Natasha Rostova ·
 Nikolai Rostov ·
 Hélène Kuragin ·
 Anatol Kuragin ·
 All characters
 

Historical characters
Napoleon ·
 Mikhail Kutuzov ·
 Pyotr Bagration ·
 Fyodor Rostopchin ·
 Alexander I of Russia
 

Events
Battle of Schöngrabern ·
 Battle of Austerlitz ·
 Treaties of Tilsit ·
 Battle of Borodino ·
 Fire of Moscow ·
 Battle of Krasnoi ·
 French invasion of Russia ·
 Napoleonic Wars
 

Adaptations
War and Peace (opera) ·
 War and Peace (1956 film) ·
 War and Peace (1966-67 Russian-French-German film series) ·
 War and Peace (1972 TV series) ·
 War and Peace (2007 Russian-French-Italian-German TV miniseries) ·
 War and Peace (2015 TV series) ·
 Natasha, Pierre & the Great Comet of 1812 (2012 musical)
 

Related
War and Peace (game) ·
 War and Peace: 1796–1815 (video game)
 

Stub icon This article related to a made-for-TV movie is a stub. You can help Wikipedia by expanding it.




 


Categories: 2007 television films
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War and Peace (film series)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


War and Peace
War and Peace poster, 1967.jpg
Original theatrical release poster of Andrei Bolkonsky.

Directed by
Sergei Bondarchuk
Produced by
Viktor Tsirgiladze
Nikolai Ivanov
G. Meerovich
V. Krivonoschenko

Screenplay by
Sergei Bondarchuk
Vasili Solovyov

Based on
War and Peace
 by Leo Tolstoy
Starring
Ludmila Savelyeva
Sergei Bondarchuk
Vyacheslav Tikhonov

Music by
Vyacheslav Ovchinnikov
Cinematography
Anatoli Petritsky
Alexander Shelenkov
Yu-Lan Chen

Editing by
Tatiana Likhacheva
Studio
Mosfilm
Distributed by
Continental Distributors (US/UK)
Release dates
I: 14 March 1966
II: 20 July 1966
III: 21 July 1967
IV: 4 November 1967 (USSR)
28 April 1968 (US)
23 January 1969 (UK)

Running time
431 minutes (original)
I: 147 minutes
II: 100 minutes
III: 84 minutes
IV: 100 minutes
373 minutes (US cut)
405 minutes (1999 remastered version)

Country
Soviet Union
Language
Russian
French
German

Budget
8,500,000 Soviet ruble (budget)
8,291,712 Soviet ruble (total cost)

Box office
58,000,000 Soviet ruble (USSR estimate)
War and Peace (Russian: Война́ и мир, trans. Voyna i mir) is a Soviet film adaptation of Leo Tolstoy's novel War and Peace, released in four parts during 1966 and 1967. Sergei Bondarchuk directed the series, co-wrote the script and starred in the leading role of Pierre Bezukhov, alongside Vyacheslav Tikhonov and Ludmila Savelyeva, who depicted Prince Andrei Bolkonsky and Natasha Rostova.
The picture was produced by the Mosfilm studios between 1961 and 1967, with considerable support from the authorities. At a cost of 8,291,712 Soviet ruble – equal to 9,213,013 U.S. dollar in 1967 rates, or $67 million in 2011, accounting for ruble inflation – it was the most expensive film ever made in the Soviet Union. Upon its release, it became a success with the audiences, selling approximately 135 million tickets in its native country. War and Peace also won the Grand Prix in the Moscow International Film Festival, the Golden Globe Award for Best Foreign Language Film and the Academy Award for Best Foreign Language Film.


Contents  [hide]
1 Plot 1.1 Part I
1.2 Part II
1.3 Part III
1.4 Part IV
2 Cast
3 Production 3.1 Inception
3.2 Development
3.3 Casting
3.4 Cinematography
3.5 Principal photography
3.6 Budget
4 Reception 4.1 Distribution
4.2 Awards
4.3 Critical response
4.4 Analysis
4.5 Restoration
5 See also
6 Annotations
7 References
8 External links

Plot[edit]
Part I[edit]
Andrei Bolkonsky
In St. Petersburg of 1805, Pierre Bezukhov, the illegitimate son of a rich nobleman, is introduced to high society. His friend, Prince Andrei Bolkonsky, joins the Imperial Russian Army as aide-de-camp of General Mikhail Kutuzov in the War of the Third Coalition against Napoleon. As Pierre's father recognizes him, he attracts the attention of Hélène Kuragin and marries her, only to discover she is unfaithful to him. Bolkonsky takes part in the failed campaign in Austria, where he witnesses the Battle of Schöngrabern and the Battle of Austerlitz. The prince is badly wounded and is mistaken for dead. His wife dies at childbirth. Bolkonsky returns to his home and meets Natasha Rostova, the young daughter of a count.
Part II[edit]
Natasha Rostova
In the end of 1809, Natasha attends her first ball. Andrei falls in love with her and intends to marry her, but her father demands they wait. The prince travels abroad, and Natasha desperately longs for him. But she then meets Anatol Kuragin and forgets Andrei. At the last minute, she regrets and abandons her plans to elope with Anatol. Bolkonsky hears of this and declares their betrothal is over. Pierre, trying to calm her down, suddenly announces he loves her.
Part III[edit]
The Year 1812
In 1812, Napoleon's Army invades Russia. Kutuzov asks Bolkonsky to join him as a staff officer, yet the prince requests a command in the field. Pierre sets out to watch the upcoming confrontation between the armies. During the Battle of Borodino, he volunteers to assist in an artillery battery. Bolkonsky's unit waits in the reserve, but he is hit by a shell. Both Anatol and Bolkosnky suffer severe wounds. The French Army is victorious and advances on Moscow.
Part IV[edit]
Pierre Bezukhov
As Moscow is set ablaze by the retreating Russians, the Rostovs flee their estate, taking wounded soldiers with them, and unbeknownst to them, also Andrei. Pierre, dressed as a peasant, tries to assassinate Napoleon but is taken prisoner. As the French are forced to retreat, he is marched for months with the Grande Armée, until being freed by a raiding party. The French are defeated by Kutuzov in the Battle of Krasnoi. Andrei is recognized and is brought to his estate. He forgives Natasha on his deathbed. She reunites with Pierre and they marry as Moscow is being rebuilt.
Cast[edit]


Lyudmila Savelyeva as Natasha Rostova
Oleg Tabakov as Nikolai Rostov
Sergei Yermilov as Petya Rostov
Viktor Stanitsyn as Ilya Rostov
Kira Golovko as Natalya Rostova
Irina Gubanova as Sonya Rostova
Edvard Martsevich as Boris Drubetskoy
Aleksandr Borisov as "Uncle" Rostov
Nikolai Rybnikov as Vasily Denisov
Viktor Murganov as Alexander I of Russia
Larisa Borisenko as Mlle. Bourienne
Georgy Millyar as Morel
Jean-Claude Ballard as Ramballe
Nonna Mordyukova as Anisya
Anna Timiryova as old lady
Boris Khmelnitsky as Bolkonsky's adjutant
Valeri Yeremichev as Alexander Ostermann-Tolstoy

Sergei Bondarchuk as Pierre Bezukhov
Irina Skobtseva as Hélène Kuragin
Vasili Lanovoy as Anatol Kuragin
Oleg Yefremov as Fedor Dolokhov
Boris Smirnov as Vasili Kuragin
Nikolai Tolkachev as Kyril Bezukhov
Dzhemma Firsova as Katishe Mamontova
Mikhail Khrabrov as Platon Karataev
Nikolai Trofimov as Tushin
Vladislav Strzhelchik as Napoleon
Jānis Grantiņš as Ludwig von Wolzogen
Dz. Eizentāls as Carl von Clausewitz
Galina Kravchenko as Marya Karagina
Boris Molchanov as Louis-Nicolas Davout
Lev Polyakov as Jacques Lauriston
Rodion Aleksandrov as Alexander Balashov

Vyacheslav Tikhonov as Andrei Bolkonsky
Anatoli Ktorov as Nikolai Bolkonsky
Anastasiya Vertinskaya as Lisa Bolkonskaya
Antonina Shuranova as Maria Bolkonskaya
Boris Zakhava as Mikhail Kutuzov
Nikita Mikhalkov as Russian soldier
Giuli Chokhonelidze as Pyotr Bagration
Vadim Safronov as Francis II
Yelena Tyapkina as Akhrosimova
Herberts Zommers as Count Benningsen
Nikolai Bubnov as Karl Mack von Leiberich
Angelina Stepanova as Anna Scherer
Erwin Knausmüller as Franz von Weyrother
Mikhail Pogorzhelsky as Michael Andreas Barclay de Tolly
Leonid Vidavsky as Paisi Kaysarov
Nikolai Grinko as Dessalles

Production[edit]
Inception[edit]
In August 1959, King Vidor's American-Italian co-production War and Peace was released in the Soviet Union, attracting 31.4 million viewers and gaining wide acclaim. The nearing 150th anniversary of the 1812 French Invasion, as well the worldwide success of Vidor's adaptation of the Russian national epic – at a time when the USSR and the United States were struggling for prestige – motivated the Soviet Minister of Culture Yekaterina Furtseva to begin planning a local picture based on Leo Tolstoy's novel.[1] An open letter which appeared in the Soviet press, signed by many of the country's filmmakers, declared: "it is a matter of honor for the Soviet cinema industry, to produce a picture which will surpass the American-Italian one in its artistic merit and authenticity."[2] According to Der Spiegel, the film was to serve as a "counterstrike" to Vidor.[3]
During 1960, several leading Soviet directors proposed themselves to head the project, including Mikhail Romm and Sergei Gerasimov. But soon, the only viable candidate remaining was Ivan Pyryev. As his selection to the role seemed secure, several officials in the Ministry of Culture offered it to forty-year-old Sergei Bondarchuk, who had completed his directorial debut, Destiny of a Man, in 1959. Bondarchuk had not sought out the position and did not know of the proposal until a letter from the Ministry reached him, but he chose to accept it and contend with Pyryev.[4]
Author Fedor Razzakov wrote that the invitation of Bondarchuk was orchestrated by Pyryev's many enemies in the establishment, who were determined not to let him receive the lucrative project; in early February 1961, a letter endorsing Bondarchuk was sent to the Minister, signed by several prominent figures from the cinema industry. At first, Furtseva decreed that both candidates would each direct a pilot to be screened before a commission. However, Pyryev soon withdrew his bid. Razzakov believed he had done so after realizing his chances were slim: Bondarchuk, whose career began only during the Thaw, represented a generation of young directors promoted by Nikita Khruschev's Kremlin to replace the old filmmakers from the Stalin era, like himself. In the end of February, after Pyryev conceded, the Minister held a meeting and confirmed Bondarchuk as the director.[5]
Development[edit]



 The director's screenplay of War and Peace.
On 3 April 1961, Vladimir Surin, the director-general of the Mosfilm studios, sent Furtseva a letter requesting to approve the adaptation of a script for a film in three parts based on War and Peace, as well as to allocate 150,000 Soviet ruble in funds. On 5 May the Minister replied, authorizing to begin writing the scenario and granting R30,000. On that day, the work on the picture began.[6]
Bondarchuk hired Vasily Solovyov, a playwright, as his assistant for composing the script. The two later changed the earlier premise and decided to make four parts instead of three.[7] They chose to seclude several of Tolstoy's plotlines and themes, in order not to make the film too cumbersome: the episodes concerning Nikolai Rostov and Maria Bolkonskaya were almost completely ignored, and Anatol Kuragin received an only slightly better treatment. The author's views on philosophy and history were barely mentioned at all.[8]
The Mosfilm directorate approved the finished script on 27 February 1962. On 20 March, in a plenum in the Ministry of Culture attended by Surin and the State Committee for Cinematography's deputy chairman Basakov, Furtseva approved the scenario and requested all relevant agencies to assist the producers, including the Ministry of Defense, which was deemed central in providing support for the project.[7]
The producers appointed three military advisers: Army General Vladimir Kurasov became the film's chief consultant, and Army General Markian Popov assisted as well;[9] Lieutenant General Nikolai Oslikovsky was brought as an expert on cavalry. The Soviet Army would supply thousands of soldiers as extras during the filming.[2]
More than forty museums[10] contributed historical artifacts, such as chandeliers, furniture and cutlery, to create an authentic impression of the early 19th-century Russia. Thousands of costumes were sewn, mainly military uniform of the sorts worn in the Napoleonic Wars,[11] including 11,000 shakos.[2] Sixty obsolete cannons were cast and 120 wagons and carts constructed for the production.[10]
Anticipating the need for cavalry, line producer Nikolai Ivanov and General Osilkovsky began seeking appropriate horses. While the cavalry formations of the Army were long abolished, several units in the Transcaucasian Military District and the Turkestan Military District retained horse drawn mountain artillery. In addition to those, the Ministry of Agriculture gave away nine hundred horses[6] and the Moscow City Police organized a detachment from its mounted regiment.[2] The producers also needed to arrange hounds for the wolf hunting at the Rostov estate. At first, it was planned to use Borzois, as depicted in the novel. Sixteen such were obtained from individual private owners, but the dogs had no experience in hunting and were hard to handle. Eventually, scent hounds supplied by the Ministry of Defense chased down the wolves – provided by the zoological department of the State Studio for Popular Science Films – while the Borzoi caught them.[12]
Casting[edit]
Bondarchuk began holding auditions in May 1961. Oleg Strizhenov received the leading role of Prince Andrei Bolkonsky. However, in spring 1962, shortly before the commencing of principal photography, Strizhenov changed his mind after being accepted into the ensemble of the Moscow Art Theatre. Bondarchuk complained to the Ministry of Culture. Furtseva has spoken with the actor, but failed to convince him. The director then tried to enlist Innokenty Smoktunovsky, who was supposed to star in Grigori Kozintsev's Hamlet. After deliberations, Smoktunovsky accepted Bondarchuk's offer, but Kozintsev used his influence in the Ministry and received his actor back. As a last resort, Vyacheslav Tikhonov was given the role. He first arrived on the set in mid-December 1962, three months after filming began.[13]
Bondarchuk envisaged the character of Pierre Bezukhov as having great physical strength, in accordance with his description by Tolstoy. Therefore, he had offered the role to Olympic weightlifter Yury Vlasov, and even rehearsed with him. Vlasov soon gave it up, telling the director that he had no acting skills.[14][15][16] Bondarchuk then cast himself as the protagonist. His wife, actress Irina Skobtseva, portrayed Hélène Kuragin, Pierre's first wife. During the making of the third and fourth part in the series, a journalist named Yury Devochkin, who resembled the director, substituted him in many of the scenes.[15]
Anastasiya Vertinskaya, Lyudmila Gurchenko and other known actresses wanted to portray Natasha Rostova, but Bondarchuk chose the inexperienced 19-year-old ballerina Ludmila Savelyeva, who had just recently graduated from Vaganova Academy of Russian Ballet.[17] Nikita Mikhalkov was cast as Natasha's little brother, Petya Rostov, but as he was in the age of adolescence and quickly growing up, he had to abandon the role in favor of the younger Sergei Yermilov.[18]
Tikhonov was the highest-paid member of the cast, and received R22,228 for portraying Bolkonsky. Bondarchuk earned R21,679 for directing and 20,100 for depicting Pierre. Savelyeva got R10,685. Most other actors received less than R3,000.[19]
Cinematography[edit]



 A Hussars officer's costume, worn by actor Nikolai Rybnikov who portrayed Denisov.
Before the beginning of principal photography, the producers resolved to shoot the picture with 70 mm. wide-format and high resolution film instead of the standard 35. mm. While they considered purchasing it from Kodak or from ORWO in the German Democratic Republic, they eventually decided to use Soviet-made film stock manufactured in the Shostka Chemical Plant, both because of financial shortcomings and considerations of national pride. Director of photography Anatoli Petritsky recalled that the Shostka film was "of horrible quality" and he would often photograph a sequence only to discover the film was defective. This – as well as the need to cover large crowds from many angles – forced the director to repeat many of the scenes; some of the more elaborate battle sequences were retaken more than forty times.[20] According to Kommersant journalist Yevgeni Zhirnov, Bondarchuk had to re-shoot more than 10% of the footage in the picture due to problems with the film stock; Zhirnov estimated that this raised the cost of production by 10%–15% at least.[21]
The first cinematographers, husband and wife Alexander Shelenkov and Yu-Lan Chen, quarreled with Bondarchuk on several occasions. On 20 May 1963, half a year after commencing photography, they sent a letter to Surin, requesting to dismiss them from the work on the picture and stating that Bondarchuk "dictated without consulting with the crew." Their 31-year-old assistant Petritsky, who has only made one film so far, received their job.[22]
The operators pioneered photography techniques which were never used in Soviet cinema: aerial lifts with cameras were hoisted over sets to create "a cannon ball view". When filming Natasha's first ball, an operator with a hand-held camera circled between the dancing extras on roller skates. The crowd scenes were shot using cranes and helicopters. Another new feature was the use of a six-channel audio recording system by the sound technicians.[23]
Principal photography[edit]



 A costume used during the filming.
On 7 September 1962, the 150th anniversary of the Battle of Borodino, principal photography began. The first scene to be filmed depicted the execution of suspected arsonists by the French Army, and shot in the Novodevichy Convent. After few days, the crew moved into the Moscow Kremlin for further work. Later that month, the hunt in the Rostov's estate was filmed in the village of Bogoslavskoye, in the Yasnogorsky District.[24]
On 1 December, Bondarchuk and the production team, with 150 wagons of equipment, traveled to Mukachevo in the Zakarpattia Oblast. The director had only planned to photograph two episodes there: the Battle of Schöngrabern and the Battle of Austerlitz. But due to the harsh winter, none of those could be shot. Bondarchuk revised his plans and decided to film in Zakarpattia 231 scenes that were supposed to be made elsewhere, while waiting for the weather to improve.[25] The Battle of Krasnoi episode and its related parts were filmed in the snow,[26] and involved 2,500 Soviet soldiers, allocated as extras, who wore French uniform and 500 in Russian ones.[27] When conditions enabled it, 3,000 soldiers from the Carpathian Military District re-created the Battle of Schöngrabern near the village of Kushtanovytsia. The Battle of Austerlitz was filmed in the vicinity of Svaliava. As the budget was exceeded due to the weather and film stock problems, Bondarchuk had to refrain from filming several battle sequences. On 17 May, the crew returned to the capital.[28]
On 20 July, the producers went on another expedition, to Dorogobuzh, in order to film the Battle of Borodino and the related parts of the plot. Photography could not be carried out in Borodino itself, mainly because of the many memorials located there. On 1 August, work was commenced. The shooting of the battle itself began on 25 August 1963 – its 151st anniversary by the Julian Calendar. 13,500 soldiers and 1,500 horsemen substituted for the historical armies.[29] Several reports in the Western press have put the number of soldiers who participated at 120,000;[nb 1] however, in an interview to National Geographic in 1986, when asked "did he really use 120,000 soldiers for the battle of Borodino?", Bondarchuk answered: "that is exaggeration, all I had was 12,000."[34] The troops were supposed to return to their bases after thirteen days, but eventually remained for three months.[35] 23 tons of gunpowder, handled by 120 sappers, and 40,000 liters of kerosene were used for the pyrotechnics,[29] as well as 10,000 smoke grenades.[27] Tens of thousands of cubic meters of soil were dug out to construct earthworks resembling the Bagration flèches and the Raevsky redoubt.[36] The set was divided to sectors, and a system of loudspeakers was installed – one for each area – to enable the director to coordinate the troops' movements.[27] On 4 November, the session ended and Bondarchuk went back to Moscow.[29]
From the end of December to mid-June 1964, the crew worked in Mosfilm's studios. Most notably, Natasha's first ball was photographed there, with five-hundred extras. On 15 June, the production team went to Leningrad, where shooting took place in the Hermitage Museum, the Summer Garden, the Peter and Paul Fortress and in Vasilyevsky Island.[37] Upon his return to the studio on 7 July, Bondarchuk was abruptly instructed by his superiors to abandon all other work and focus on preparing the first two parts for the 1965 Moscow Film Festival, contrary to all former designs and while they were far from finished. During the same month, he suffered a major cardiac arrest and was clinically dead for a short while.[38] His first words after regaining consciousness were: "If I will die, let Gerasimov finish it".[39] Filming was postponed until late September.[40]
In spite of the tight schedule, Andrei Bolkonsky and Natasha Rostova were completed and submitted to Mosfilm's directorate on 30 June 1965, less than a week before the festival. The two had their world premiere on 19 July 1965, in the Kremlin Palace of Congresses.[41] During July, Bondarchuk suffered another heart attack: this time, he was clinically dead for four minutes.[42][43] The white wall of light seen by Bolkonsky before his death was inspired by the director's experience.[14]
The work on the remaining episodes of parts 3 and 4 resumed on 9 August. During the next months, the crew filmed in Mozhaysk, Kalinin and Zvenigorod. The final plot line to be shot was the Fire of Moscow; filming began on 17 October 1966. For four months prior to that, a plywood set was built in the village of Teryayevo, next to the Joseph-Volokolamsk Monastery.[41] The entire construction, doused with diesel fuel, was burned to the ground as five fire engines stood nearby. Principal photography ended on 28 October 1966. On 28 December, the edited third film was approved by the studio. Work on the fourth and final one continued until early August 1967.[44]
Budget[edit]
In 1962, officials in the Ministry of Culture estimated War and Peace would cost some 4 million rubles, not including support from the Army. In comparison, the most expensive Soviet film until then, the 1952 The Unforgettable Year 1919, cost R1.093 million in prices adjusted to the 1961 monetary reform.[45] War and Peace remained the costliest picture to be made in the USSR.[46]
On 20 March 1962, Furtseva set a preliminary budget of R1.395 million.[7] On 21 May 1963, the Ministry approved a plan for a series in four parts with a budget of R8,165,200.[47] On 25 August 1964, the State Committee for Cinematography issued a directive revisiting the terms, authorizing to spend R8.5 million, of which R2.51 million were to cover the expenses of the Ministry of Defense.[48] Producer Nikolai Ivanov recalled: "the domestic press later claimed the budget was R18 million or R25 million, but they had 8.5 million and managed to reduce expenditures to 7.8 million during principal photography."[2]
Towards the end of post-production, the total cost forecast estimated was R8,083,412. However, in August 1967, with all work completed, "the last debit and credit entries were written in the books. According to its financial statements, the film consumed 8,291,712 ruble."[49] This was equal to $9,213,013 by the 1967 exchange rate,[nb 2], or to approximately $67 million in 2011, accounting for ruble inflation.
Various estimates of the series' budget were issued to the international press: Der Spiegel stated it cost 240 million West German Mark ($60.2 million).[3] The New York Times reported it was "the most expensive film ever made... Russians say cost $100 million."[52] Judith Crist also wrote that "what the Russians estimate is the equivalent of $100 million" were invested in making it.[53] This figure was repeated throughout the American press.[54][55] After its release in the United Kingdom in 1969, The Annual Register announced it "reputedly" cost £40 million ($96 million).[56] The 1979 Guinness Book of World Records published a similar number, claiming War and Peace was "the most expensive film ever made" based on that "the total cost has been officially stated to be more than $96 million."[30][nb 3]
Reception[edit]
Distribution[edit]
Andrei Bolkonsky was screened in two consecutive parts, released in a total of 2,805 copies in March 1966.[59] In the fifteen months afterwards, the first sold 58.3 million tickets in the USSR, and 58 million of the viewers remained through the intermission. Thus, Bolkonsky became the most successful film of the year.[60] Respectively, its two parts are also the 26th and 27th most watched from among all pictures ever made in the Soviet Union.[61] Natasha Rostova, which opened in July with 1,405 copies disseminated, performed less well and attracted 36.2 million viewers in the same time period, reaching the third place in the 1966 box office,[62] although it would have been ninth if counted in 1967.[60] The two final parts have deteriorated further: 1812, with 1,407 copies released, had 21 million admissions and Pierre Bezukhov sold merely 19.8 million tickets;[60] they made it to the 13th and 14th place at the 1967 box office.[63]
Russian film critic Sergei Kudryavtsev assessed the series' domestic returns were "probably in the range" of R58 million,[59] while Razzakov assumed each ticket cost an average price of 25 kopeck.[19] With a total of some 135 million tickets sold, War and Peace was considered a resounding commercial success at the time.[8][49][59]
The series was screened in 117 countries around the world,[64] including Spain, Japan, West Germany, Denmark, Belgium, Egypt, and Argentina.[65] In East Germany, the state-owned DEFA studio produced a slightly shorter edition of the series, dubbed to German, which ran 409 minutes and maintained the four-part order of the original. Among others, it featured Angelica Domröse, who voiced Lisa Bolkonskaya. It attracted 2,225,649 viewers in the German Democratic Republic.[66] In West Germany, a much shorter version was released, totaling 337 minutes.[67] In the People's Republic of Poland, it sold over 5,000,000 tickets in 1967.[68] In France, War and Peace had 1,236,327 admissions.[69]
Walter Reade Jr.'s company Continental Distributors purchased the U.S rights of War and Peace for $1.5 million.[70] Reade's associates have shortened the American version of the film by an hour, and added English-language dubbing. This edition was directed by Lee Kresel of Titan Productions and narrated by Norman Rose.[71] Its premiere was held in the DeMille Theater, New York, on 28 April 1968, and attended by actresses Ludmila Savelyeva and Irina Skobtseva, as well as ambassadors Anatoly Dobrynin and Yakov Malik.[72][73] Tickets for the picture were later sold for $5.50–$7.50 – the highest admission rate ever, breaking the previous $6 record of Funny Girl.[74] On 23 January 1969, Kresel's edition opened in London's Curzun cinema.[75]
Awards[edit]
In July 1965, War and Peace was awarded the Grand Prix at the 4th Moscow International Film Festival together with the Hungarian entry Twenty Hours. Ludmila Savelyeva was presented with an honorary diploma.[76] The readers of Sovetskii Ekran, the official publication of the State Committee for Cinematography, chose Savelyeva and Vyacheslav Tikhonov for the best actress and actor of 1966, in recognition of their appearance in the picture.[77] In the same year, War and Peace also received the Million Pearl Award of the Roei Association of Film Viewers in Japan.[78]
In 1967, the film was entered into the 1967 Cannes Film Festival, outside of the competition.[79] It was sent there instead of Andrei Tarkovsky's Andrei Rublev, which was invited by the festival's organizers but deemed inappropriate by the Soviet government.[80]
In the United States, it won the Golden Globe Award for Best Foreign Language Film in the 26th Golden Globe Awards.[81] The picture was the Soviet entry to the 41st Academy Awards, held on 14 April 1969. It received the Academy Award for Best Foreign Language Film and was nominated for the Academy Award for Best Art Direction.[82] War and Peace was the first Soviet picture to win the Oscar for best foreign film, and also the longest film ever to receive an Academy Award.[83]
It also won the National Board of Review Award for Best Foreign Language Film[84] and the New York Film Critics Circle Award for Best Foreign Language Film for 1968.[85]
In 1970, it was nominated for the BAFTA Award for Best Production Design in the 23rd British Academy Film Awards.[86]
Critical response[edit]
Soviet film critic Rostislav Yurenev wrote that War and Peace was "the most ambitious and monumental adaptation of the greatest work of Russian literature... set out to convey in tremendous scope the historical conception of Leo Tolstoy, his extraordinarily vivid and profound depiction of humanity."[87] In a second review, he added: "the desire for ever greater depth of penetration into the human character, of every aspect of it... led to Sergei Bondarchuk's adaptation of Tolstoy. The outcome is truly marvelous."[88]
Frankfurter Allgemeine Zeitung reviewer Brigitte Jeremias stated the film presented history "with great meticulousness and choreographic quality... This is a conservative, romantic or perhaps even classical historical film... But it strives for authenticity, and is therefore incomparably better than Vidor's adaptation."[67]
French critic Georges Sadoul commented: "more than in the sheer scale of the battle scenes", the film's "merit lies in its sense of the Russian landscape... Though perhaps an impressive example of film-making on large scale," it was "ponderous by any standard" and "tediously faithful" to the novel, with "none of its narrative flair or spirit... Occasional bravura or touching episodes are not adequate for the dogged pedantry."[89] Claude Mauriac wrote in Le Figaro Littéraire that "we have already seen many Soviet films... But this is the most beautiful I have seen since, well, since when?"[90] Peter Cowie noted that Bondarchuk brought to his adaptation "the epic sweep that had eluded King Vidor."[91]
Renata Adler of the New York Times wrote that "the characters – including Savelyeva... Who looks a little queasy, and Bondarchuk, too old to play Pierre – are dowdy automata."[92] She added the film was "vulgar in the sense that it takes something great and makes it both pretentious and devoid of life... A failure in the sense that it is not even as enjoyable as any number of lesser films."[93] Adler also disapproved of the English dubbing, opining "although it is remarkable – an outer limit of what can be done – it was a mistake"[92] and "proves once and for all the futility of dubbing."[93] The New Yorker critic Penelope Gilliatt had lambasted the process as well: "the decision to tack on alien voices seems madness."[94] Judith Crist wrote in New York Magazine: "Those Russians...! And now, I bet they'll beat us to the moon! Chauvinism be damned – I'm putting Gone with the Wind into... Second place, for certainly War and Peace is not only... The finest epic of our time, but also a great and noble translation of a literary masterpiece, surpassing our expectation and imagination".[95]
The Time Magazine reviewer wrote that the film "escapes greatness, except in cost and length... the movie is awesome in war and pusillanimous in peace." In the novel, unlike in the picture "the war is only the background... Pierre and Andrei are only shallow, literal representations of Tolstoy's characters... Moreover, the dubbing is disastrous."[55] Richard Schickel of Life noted that the film's American distributors "have cut and dubbed it, ruining any merit it may have had" but the original "had its own deficiencies... Missing is Tolstoy's theory of history as well as his Christian message (neither fits Marxist theory very well), and without this underpinning the film lacks power and purpose."[54] Roger Ebert commented that it was "a magnificently unique film... Bondarchuk, however, is able to balance the spectacular, the human, and the intellectual. Even in the longest, bloodiest, battle scenes there are vignettes that stand out... It is as spectacular as a movie can possibly be and yet it has a human fullness."[96]
Analysis[edit]
Ian Aitken regarded War and Peace as "one of the most important" films produced during the 1964–68 transition from the Khruschev Thaw to the Brezhnev Stagnation. In that period, the liberal atmosphere of the Thaw was still felt, although it was being marginalized as Soviet cinema became more restrained. The picture "departed from the officially sanctioned forms of Socialist realism" and rather, conformed to György Lukács' model of intensive totality in several aspects: it was based on a classic realist novel which itself influenced Lukács; had a complex plot structure, and portrayed the relations of individuals in a social context. Aitken added that at the same time, the picture employed several "overtly modernist" techniques: "symbolic, anti-realist use of color... disembodied speech, rapid editing... reflexive, hand-held camera." The author believed the film's "chief importance" laid in its demonstration of how "the Lukácsian model of intensive totality can be given a successful modernist inflection." He also noted that while it was an example of critical realism rather than socialist realism and had modernist characteristics, War and Peace was "politically innocuos enough" to be celebrated by the Brezhnev government as a great achievement.[97]
Lev Anninsky, on the contrary, viewed Bondarchuk's picture as a symbol of state-approved cinema, writing it was the "antithesis" and the "total contrast" to Andrei Rublev, which he saw as representing the nonconformist approach in the field. Anninsky commented that War and Peace was imbued with patriotic motifs and "warm Russian tradition, which engulfs the viewer" while Tarkovsky had no such sense of "history as if it is a mother's womb."[98] Mira and Antonin Liehm considered it "foremost" among the early Brezhnevite films which received "official support" in order to bring "Russian classics... and history to the screen in a manner in line with the official standards of taste." However, they added that "if measured by models and ambitions" it could "stand on its own merits."[99]
David C. Gillespie noted orthodox Soviet messages in the film: "There are ideological touches... Russian and Austrian soldiers (but not their officers) show proletarian-like solidarity... There is no mention in the film of Pierre's early dalliance with freemasonry, as if contact with a foreign creed might erode some of his Russianness." He wrote that it "remains a paean to Russian military might and the strength of the Russian 'soul'."[100]
Restoration[edit]
In 1986, Bondarchuk was requested to prepare War and Peace for a broadcast in television. A 35-mm. copy of the series, which was filmed in parallel to the main version and had a 4:3 aspect ratio, rather than the 70-mm. 2.20:1, was submitted, after being adapted by a team headed by Petritsky.[23]
In 1999, as part of an initiative to restore its old classics, Mosfilm resolved to restore War and Peace. As the original 70-mm. reels were damaged beyond repair, the studio used the 1988 4:3 version and the original soundtrack to make a DVD edition, in a process that cost $80,000.[101][102]
See also[edit]

Portal icon Soviet Union portal
Portal icon Film portal
 Wikimedia Commons has media related to War and Peace.
List of Russian submissions for the Academy Award for Best Foreign Language Film.
List of submissions to the 41st Academy Awards for Best Foreign Language Film.
War and Peace – 1941 opera composed by Sergei Prokofiev.
War and Peace – 1956 film directed by King Vidor.
War and Peace – 1972 BBC television adaptation.
War and Peace – 2007 mini-series directed by Robert Dornhelm.
Annotations[edit]
1.Jump up ^ The 1979 Guinness Book of World Records and other sources state that "the re-creation of the Battle of Borodino involved 120,000 Red Army extras."[30] This figure is contrasted by several contemporary sources: the New York Times journalist Theodore Shabad reported that "12,000 soldiers and 800 horses" took part.[31] Chief military consultant Vladimir Kurasov wrote that "12–13 thousand soldiers" would be used for Borodino.[32] Nikolai Ivanov recalled a "force of 15,000".[2] Even the 1971 Guinness Book of World Records states: "The re-creation of the Battle of Borodino involved 12,000 men and 800 horses."[33] The figure used here is cited by Razzakov, who had access to the production records.
2.Jump up ^ The exchange rate of the ruble to US dollar from 1961 to 1971 was 0.9:1.[50] Other exchange rates used here are the 1969 rate of 0.41667£:1$ and the 1967 rate of 3.9866DM:1$.[51]
3.Jump up ^ There were many others in addition. In March 1965, the British magazine Films and Filming reported that the two first parts required £9 million (equal to $25.2 million);[57] in July, L'Express stated they have cost $50 million.[58] René Drommert of Die Zeit was told 135 million West German Mark ($33.8 million) were spent making them.[10]
References[edit]
1.Jump up ^ Razzakov. o Vojne. p. 6.
2.^ Jump up to: a b c d e f Gnedinskaya, Anastasia (21 September 2011). "Товарищ Кутузов, что-то стало холодать!" [Comrade Kutuzov, It Got Colder!] (in Russian). Moskovskij Komsomolets. Retrieved 10 September 2012.
3.^ Jump up to: a b "Fünfte Fassung" [Fifth Edition]. Der Spiegel (in German). 20 February 1967. Retrieved 11 September 2012.
4.Jump up ^ Razzakov. Gibelʹ sovetskogo kino. p. 74.
5.Jump up ^ Razzakov. Gibelʹ sovetskogo kino. p. 75.
6.^ Jump up to: a b Razzakov. o Vojne. p. 224.
7.^ Jump up to: a b c Razzakov. o Vojne. p. 225.
8.^ Jump up to: a b Muskyi. p. 274.
9.Jump up ^ Palatnikova. p. 75.
10.^ Jump up to: a b c Drommert, René (30 July 1965). "Tauziehen auf den Moskauer Festspielen" [Tug of War in the Moscow Festival]. Die Zeit (in German). Retrieved 10 September 2012.
11.Jump up ^ Muskyi. p. 275.
12.Jump up ^ Rtischeva, Natalia (1 December 2010). "Николай Иванов: В моей биографии самое главное – "Война и мир"" [Nikolai Ivanov: In My Biography, "War and Peace" is the Most Important] (in Russian). Rodnaya Gazetta. Retrieved 10 September 2012.
13.Jump up ^ Razzakov. Tajnoe stanovitsja javnym. p. 18.
14.^ Jump up to: a b Nekhamkin, Sergei (4 August 2011). "Зеленая точка" [A Green Dot] (in Russian). Argumenti Nedeli. Retrieved 11 September 2012.
15.^ Jump up to: a b Razzakov. Tajnoe stanovitsja javnym. p. 247.
16.Jump up ^ Palchikovsky, Sergei (29 September 2005). "Тарас Шевченко – автор эпопеи "Война и мир"" [Taras Shevchenko – Creator of "War and Peace"] (in Russian). Pervaya Krimskaya Gazeta. Retrieved 11 September 2012.
17.Jump up ^ Palatnikova. p. 192.
18.Jump up ^ Veligzhanina, Anna (27 October 2005). "Никита Михалков снимает "Утомленных-2" и разводит кабанов" [Nikita Mikhalkov Films "Burnt by the Sun 2" and Breeds Hogs] (in Russian). Komsomolskaya Pravda. Retrieved 11 September 2012.
19.^ Jump up to: a b Razzakov. Tajnoe stanovitsja javnym. p. 249.
20.Jump up ^ Naumenko, Alexei (24 July 2004). "Анатолий Петрицкий: "Эта картина – самое главное, что я в жизни сделал"" [Anatoli Petritsky: "This is the Most Important Film I Have Made in My Life"] (in Russian). Zerkalo Nedely. Retrieved 11 September 2012.
21.Jump up ^ Zhirnov, Yevgeni (20 September 2004). "Целлулоидное искусство" [Celluloid Art] (in Russian). Kommersant. Retrieved 11 September 2012.
22.Jump up ^ Razzakov. Tajnoe stanovitsja javnym. p. 234.
23.^ Jump up to: a b Lsovoi, Nine (February 2008). "Слово мастера" [The Word of the Master] (in Russian). Техника и технологии кино. Retrieved 15 April 2011. p. 7.
24.Jump up ^ Razzakov. o Vojne. p. 18.
25.Jump up ^ Razzakov. o Vojne. p. 19.
26.Jump up ^ Razzakov. Tajnoe stanovitsja javnym. p. 232.
27.^ Jump up to: a b c Muskyi. p. 276.
28.Jump up ^ Razzakov. o Vojne. p. 20.
29.^ Jump up to: a b c Razzakov. o Vojne. p. 23.
30.^ Jump up to: a b McWhirter. 1979. p. 242.
31.Jump up ^ Shabad, Theodore (12 January 1964). "War and Peace on Native Soil". The New York Times. Retrieved 8 September 2012.
32.Jump up ^ Kurasov, Vladimir (September 1962). "фильм о славе русского оружия" [A Film of Glory to Russian Arms] (in Russian). Sovetskii Ekran. Retrieved 11 September 2012.
33.Jump up ^ McWhirter. 1971. p. 198.
34.Jump up ^ White, Peter. T. (June 1986). "The World of Tolstoy". National Geographic 169 (6): 764. ISSN 0027-9358.
35.Jump up ^ Vorobyov, Vyacheslav (9 April 2012). "Директор "Войны и мира"" [The Producer of "War and Peace"] (in Russian). Tverskaya Zhizn. Retrieved 11 September 2012.
36.Jump up ^ Cowie. p. 39.
37.Jump up ^ Razzakov. Tajnoe stanovitsja javnym. pp. 241–242.
38.Jump up ^ Palatnikova. p. 56.
39.Jump up ^ Bondarchuk. p. 161.
40.Jump up ^ Razzakov. Tajnoe stanovitsja javnym. p. 242.
41.^ Jump up to: a b Razzakov. Tajnoe stanovitsja javnym. p. 243.
42.Jump up ^ Starodubetz, Anatoly (30 September 2005). "Наталья Бондарчук: на съемках "Войны и мира" Отец пережил две клинические смерти" [Natalya Bondarchuk: My Father had Two Heart Attacks On the Set of "War and Peace"] (in Russian). Gazeta Trud. Retrieved 11 September 2012.
43.Jump up ^ Razzakov. Gibelʹ sovetskogo kino. p. 129.
44.Jump up ^ Razzakov. o Vojne. p. 34.
45.Jump up ^ M.M. Goldin. Opyt gosudarstvennogo upravleniya iskusstvom: Deyatelnost pervogo otechestvennogo Ministerstva kulʹtury. Moscow (2006). p. 73.
46.Jump up ^ Beumers. p. 143.
47.Jump up ^ Razzakov. o Vojne. p. 30.
48.Jump up ^ Deryabin. p. 637.
49.^ Jump up to: a b Razzakov. o Vojne. p. 36.
50.Jump up ^ "Central Bank of Russia: Ruble to US Dollar Exchange Rate History". cbr.ru. Retrieved 2012-09-11.
51.Jump up ^ "Pacific Exchange: Foreign Currency Units per 1 U.S. Dollar, 1948–2011". ubc.ca. Retrieved 2012-09-11.
52.Jump up ^ Weiler, Abraham H. (19 January 1968). "7-Hour 'War and Peace' Booked Here". The New York Times. Retrieved 8 September 2012.(subscription required)
53.Jump up ^ Crist, Judith (29 April 1968). "Waiting for Tolstoy". New York Magazine.
54.^ Jump up to: a b Schickel, Richard (14 June 1968). "It Shouldn't Be Happening to Tolstoy". Life.
55.^ Jump up to: a b "New Movies: War & Peace". Time magazine. 3 May 1968. Retrieved 11 September 2012.
56.Jump up ^ The Annual Register: World Events in 1969 211: 435. 1970. ISSN 0266-6170..
57.Jump up ^ "A Moscow Letter". Films and Filming: 49. March 1965. ISSN 0015-167X.
58.Jump up ^ L'Express. 28 June – 4 July 1965. p. 35.
59.^ Jump up to: a b c Kudryavtsev. 3500. p. 185.
60.^ Jump up to: a b c Zemlianukhin, Segida. p. 72.
61.Jump up ^ Kudryavtsev. Svoe Kino. p. 374.
62.Jump up ^ Razzakov. Tajnoe stanovitsja javnym. p. 278.
63.Jump up ^ Razzakov. Gibelʹ sovetskogo kino. p. 190.
64.Jump up ^ Tendora. p. 92.
65.Jump up ^ Society for Contemporary Studies (1971). The Contemporary 15: 56. ISSN 0573-7958.
66.Jump up ^ Freie Welt 169 (27): 8. October 1970. ISSN 0427-5217.
67.^ Jump up to: a b "Woina i Mir". berlinale.de. Retrieved 2012-09-11.
68.Jump up ^ Leyko, p. 84.
69.Jump up ^ "Guerre et Paix". allocine.fr. Retrieved 2013-10-04.
70.Jump up ^ Balio. p. 220.
71.Jump up ^ Jonas, Gerald (9 March 1968). "Labials and Fricatives". The New Yorker. Retrieved 11 September 2012.
72.Jump up ^ Curtis, Charlotte (29 April 1968). "War and Peace Opens". The New York Times. Retrieved 11 September 2012.
73.Jump up ^ Lanken, Dane (2 May 1968). "Soviet Film Version of War and Peace is Given a Gala New York Premiere". Montreal Gazette. Retrieved 11 September 2012.
74.Jump up ^ Balio. p. 221.
75.Jump up ^ New Society. 23 January 1969. p. 136. ISSN 0028-6729.
76.Jump up ^ "1965 1965 MIFF Awards". moscowfilmfestival.ru. Retrieved 2012-09-11.
77.Jump up ^ "Победители конкурса журнала "Советский экран"" [Sovetskii Ekran Competition Winners] (in Russian). akter.kulichki.com. October 1983. Retrieved 1 March 2011.
78.Jump up ^ Tendora. p. 287.
79.Jump up ^ "1967 Cannes Festival Out Of Competition". festival-cannes.com. Retrieved 2012-09-11.
80.Jump up ^ Beumers. p. 145.
81.Jump up ^ "The 26th Annual Golden Globe Awards". goldenglobes.org. Retrieved 2012-09-11.
82.Jump up ^ "The 41st Academy Awards (1969) Nominees and Winners". oscars.org. Retrieved 2011-11-15.
83.Jump up ^ Osborne. p. 206.
84.Jump up ^ "NBRMP Awards for Best Foreign Language Film". nbrmp.org. Retrieved 2012-09-11.
85.Jump up ^ "New York Film Critics Circle Awards 1968". nyfcc.com. Retrieved 2012-09-11.
86.Jump up ^ "23rd BAFTA Awards". bafta.org. Retrieved 2012-09-11.
87.Jump up ^ Yurenev. p. 96.
88.Jump up ^ Tendora. p. 93.
89.Jump up ^ Sadoul. p. 407.
90.Jump up ^ Mauriac, Claude (5 May 1966). "Guerre et paix de Serge Bondartchouk, d'après Tolstoï". Le Figaro Littéraire (1046): 16.
91.Jump up ^ Cowie. p. 40.
92.^ Jump up to: a b Adler, Renata (29 April 1968). "6 1/4-Hour Movie Is Shown in 2 Parts at the DeMille". The New York Times. Retrieved 11 September 2012.
93.^ Jump up to: a b Adler, Renata (5 May 1968). "War and Peace – and Godard". The New York Times. Retrieved 11 September 2012.
94.Jump up ^ Gilliatt, Penelope (4 May 1968). "The Russians' Monument". The New Yorker. Retrieved 11 September 2012.
95.Jump up ^ Crist, Judith (13 May 1968). "War and Peace – The Greatest". New York Magazine.
96.Jump up ^ "War and Peace :: rogerebert.com :: Reviews". Rogerebert.suntimes.com. Retrieved 2012-02-03.
97.Jump up ^ Aitken. p. 223.
98.Jump up ^ Anninsky. p. 200.
99.Jump up ^ Liehm. p. 313.
100.Jump up ^ Gillespie. p. 18.
101.Jump up ^ Yakovleva, Elene (25 July 2006). "От фабрики грез к фабрике смыслов" [From the Factory of Dreams to that of Senses] (in Russian). Rossiyskaya Gazeta. Retrieved 11 September 2012.
102.Jump up ^ Maslova, Lidya (5 July 2000). ""Мосфильм" перепечатал "Войну и мир"" [Mosfilm Restored "War and Peace"] (in Russian). Kommersant. Retrieved 18 September 2012.
BibliographyAitken, Ian (2001). European Film Theory and Cinema: A Critical Introduction. Edinburgh University Press. ISBN 0253215056.
Anninsky, Lev (1991). Shestidesiatniki i my : Kinematograf, stavshii i ne stavshii Istoriei. Soyuz Kinematografov SSSR. OCLC 26810585.
Balio, Tino (2010). The Foreign Film Renaissance on American Screens, 1946–1973. University of Wisconsin Press. ISBN 978-0299247942.
Beumers, Birgit (2009). A History of Russian Cinema. Berg Publishers. ISBN 978-1-84520-215-6.
Bondarchuk, Natalya (2009). Edinstvennye dni. Astrel. ISBN 9785170625871.
Cowie, Peter (1975). 50 Major Film-Makers. A.S. Barnes. ISBN 978-0498012556.
Deryabin, Alexander (2010). Letopisʹ rossiiskogo kino, 1946–1965. Kanon Plus. ISBN 9785883731524.
Gillespie, David C. (2003). Russian Cinema. Longman. ISBN 978-0-582-43790-6.
Kudryavtsev, Sergei (2008). 3500 avtorskuiu knigu kinoretsenzii. Pechatny Dvor. ISBN 978-5990131835.
Kudryavtsev, Sergei (1998). Svoe Kino. Dubl-D. OCLC 42657018.
Leyko, Małgorzata; Sugiera, Małgorzata; Bayerdörfer, Hans-Peter (1998). Polnisch-deutsche Theaterbeziehungen seit dem Zweiten Weltkrieg. Niemeyer. ISBN 9783484660267.
Liehm, Miera and Antonin J. (1977). The Most Important Art: Soviet and Eastern European Film After 1945. University of California Press. ISBN 0-520-04128-3.
McWhirter, Norris and Ross (1972). Guinness Book of World Records 1971. Sterling. ISBN 978-0806900049.
McWhirter, Ross (1980). Guinness Book of World Records 1979. Sterling. ISBN 978-0-8069-0130-5.
Muskyi, Igor (2007). Sto velikikh otechestvennykh kinofilmov. Veche. ISBN 978-5953323437.
Osborne, Robert (1999). 70 Years of the Oscar: The Official History of the Academy Awards. Abbeville Press. ISBN 978-0789204844.
Palatnikova, Olga (2010). Neizvestnyi Bondarchuk: Planeta Geniya. Exmo. ISBN 9785699449576.
Razzakov, Fedor (2008). Gibelʹ sovetskogo kino. Exmo. ISBN 9785699268467.
Razzakov, Fedor (2005). Naše Ljubimoe Kino... o Vojne. Algoritm. ISBN 9785699128822.
Razzakov, Fedor (2004). Naše Ljubimoe Kino – Tajnoe stanovitsja javnym. Algoritm. ISBN 9785926501428.
Sadoul, Georges (1972). Dictionary of Films. University of California Press. ISBN 978-0520021525.
Tendora, Natalya (2008). Vyacheslav Tikhonov kniazʹ iz Pavlovskogo Posada. Algoritm. ISBN 9785699387199.
Yurenev, Rostislav (1968). Iskusstvo roždennoe oktjabrem. BP sovetskogo kinoiskusstva. OCLC 247736059.
Zemlianukhin, Sergei; Segida, Miroslava (1996). Domashniaia Sinemateka 1918–1996. Duble-D. ISBN 978-5900902050.
External links[edit]
War and Peace at the Internet Movie Database
Watch War and Peace online at official Mosfilm site (with English subtitles)
War and Peace on kino-teatr.ru.


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Categories: Films based on War and Peace
1966 films
1967 films
1960s war films
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Soviet films
Soviet war films
Russian-language films
Films directed by Sergei Bondarchuk
Best Foreign Language Film Golden Globe winners
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The Longest Day (film)
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For other uses, see The Longest Day.

The Longest Day
Original movie poster for the film The Longest Day.jpg
original movie poster

Directed by
Ken Annakin (British & French exteriors)
Andrew Marton (American exteriors)
Bernhard Wicki (German episodes)
Gerd Oswald (parachute drop)
Darryl F. Zanuck (uncredited)

Produced by
Darryl F. Zanuck
Screenplay by
Romain Gary
James Jones
David Pursall
Cornelius Ryan
Jack Seddon

Based on
The Longest Day by Cornelius Ryan
Starring
John Wayne
Henry Fonda
Robert Mitchum
Sean Connery
Eddie Albert
Curd Jürgens
Richard Burton
Peter Lawford
Rod Steiger
Irina Demick
Gert Fröbe
Edmond O'Brien
Kenneth More

Music by
Maurice Jarre
Cinematography
Jean Bourgoin
Walter Wottitz

Editing by
Samuel E. Beetley
Distributed by
20th Century Fox
Release dates
25 September 1962 (France/US)
4 October (Canada)
23 October (UK/Mexico/Germany)

Running time
178 minutes
Country
United States
Language
English
German
French

Budget
$7.75 million[1]
Box office
$50,100,000[2]
The Longest Day is a 1962 war film based on the 1959 history book The Longest Day by Cornelius Ryan, about D-Day, the Normandy landings on 6 June 1944, during World War II. Producer Darryl F. Zanuck paid the book's author, Cornelius Ryan, US$175,000 for the film rights.[3] The screenplay adaptation was written by Romain Gary, James Jones, David Pursall, Jack Seddon, and Ryan. It was directed by Ken Annakin (British and French exteriors), Andrew Marton (American exteriors), Gerd Oswald (parachute drop scene), Bernhard Wicki (German scenes), and Darryl F. Zanuck (uncredited).
The Longest Day, which was made in black and white, features a large ensemble cast including John Wayne, Kenneth More, Richard Todd, Robert Mitchum, Richard Burton, Sean Connery, Henry Fonda, Red Buttons, Rod Steiger, Leo Genn, Peter Lawford, Gert Fröbe, Irina Demick, Bourvil, Curd Jürgens, Robert Wagner, Paul Anka and Arletty. Many of these actors played roles that were virtually cameo appearances and several cast members such as Todd, Fonda, Steiger and Genn saw action as servicemen during the war.
The film employed several Axis and Allied military consultants who had been actual participants on D-Day. Many had their roles re-enacted in the film. These included: Günther Blumentritt (a former German general), James M. Gavin (an American general), Frederick Morgan (Deputy Chief of Staff at SHAEF), John Howard (who led the airborne assault on the Pegasus Bridge), Lord Lovat (who commanded the 1st Special Service Brigade), Philippe Kieffer (who led his men in the assault on Ouistreham), Pierre Koenig (who commanded the Free French Forces in the invasion), Max Pemsel (a German general), Werner Pluskat (the major who was the first German officer to see the invasion fleet), Josef "Pips" Priller (the hot-headed pilot) and Lucie Rommel (widow of Erwin Rommel).


Contents  [hide]
1 Plot
2 Cast 2.1 Americans
2.2 British
2.3 French
2.4 Germans
3 Production 3.1 Filming
3.2 Casting
4 Release
5 Awards & nominations
6 References
7 External links

Plot[edit]
The Longest Day is filmed in the style of a docudrama. Beginning in the days leading up to D-Day, the film concentrates on events on both sides of the channel such as the Allies waiting for the break in the poor weather and the anticipation of the Axis forces defending northern France. The film pays particular attention to the decision by General Eisenhower, supreme commander of SHAEF, to go after reviewing the initial bad weather reports as well as the divisions within the German High Command on where an invasion might happen or what response to it should be.
Numerous scenes document the early hours of 6 June when Allied airborne troops were sent in to take key locations. The French resistance is also shown reacting to the news that an invasion has started. The Longest Day chronicles most of the important events surrounding D-Day. From the British glider missions to secure Pegasus Bridge, the counterattacks launched by American paratroopers scattered around Sainte-Mère-Église, the infiltration and sabotage work conducted by the French resistance and SOE agents, and the response by the Wehrmacht to the invasion and the uncertainty to whether it was a feint in preparation for crossings at the Pas de Calais (see Operation Fortitude).
Set piece scenes include the advance in shore from the Normandy beaches, the US Ranger Assault Group's assault on the Pointe du Hoc, the attack on Ouistreham by Free French Forces and the strafing of the beaches by two lone Luftwaffe pilots.
The film concludes with a montage showing various Allied units consolidating their beachheads before the advance inland begins to liberate France.
Cast[edit]
Americans[edit]

Actor
Role
Eddie Albert Colonel Thompson, 29th Infantry Division
Paul Anka US Army Ranger
Richard Beymer Private Arthur 'Dutch' Schultz, 82nd Airborne Division
Red Buttons John Steele, 82nd Airborne Division
Mark Damon Private Harris
Ray Danton Captain Frank
Fred Dur US Army Ranger Major
Fabian Forte US Army Ranger
Mel Ferrer Major General Robert Haines
Henry Fonda Brigadier General Theodore Roosevelt Jr., Deputy Commander 4th Infantry Div.
Steve Forrest Captain Harding, 82nd Airborne Division
Henry Grace General Dwight D. Eisenhower, Supreme Allied Commander
Peter Helm Young GI
Jeffrey Hunter Sergeant (later Lt.) John H. Fuller
Alexander Knox Lieutenant General Walter Bedell Smith, SHAEF Chief of Staff
Dewey Martin Private Wilder (role cut from released version)
Roddy McDowall Private Morris, 4th Infantry Division
John Meillon Admiral Alan G. Kirk, Senior US Naval Commander
Sal Mineo Private Martini
Robert Mitchum Brigadier General Norman Cota, Asst. Commander 29th Infantry Div.
Edmond O'Brien Major General Raymond O. Barton, Commander 4th Infantry Div.
Ron Randell Joe Williams
Robert Ryan Brigadier General James M. Gavin, Asst. Commander 82nd Airborne Div.
Tommy Sands US Army Ranger
George Segal US Army Ranger
Rod Steiger Destroyer Commander
Nicholas Stuart Lieutenant General Omar N. Bradley, Commander US First Army
Tom Tryon Lieutenant Wilson, 82nd Airborne Division
Robert Wagner US Army Ranger
John Wayne Lt. Col. Benjamin Vandervoort, Commander 2nd Battalion, 505th Parachute Infantry Reg.
Stuart Whitman Lieutenant Sheen, 82nd Airborne Division
British[edit]

Actor
Role
Patrick Barr Group Captain J.M. Stagg
Richard Burton Flying Officer David Campbell
Bryan Coleman Ronald Callen
Sean Connery Private Flanagan
Leslie de Laspee Private Bill Millin, No. 4 Commando (Piper on Beach)
Frank Finlay Private Coke, 2nd Oxford & Bucks L.I.
Harry Fowler Private, 2nd Oxford & Bucks L.I.
Leo Genn Brigadier Edwin P. Parker Jr.
Harold Goodwin Private, 2nd Oxford & Bucks L.I.
John Gregson Padre, 6th Airborne Division
Jack Hedley RAF Briefing Officer
Donald Houston RAF pilot at flight base
Simon Lack Air Chief Marshal Sir Trafford Leigh-Mallory, Commander Allied Air Forces
Peter Lawford Brigadier Lord Lovat, Commander 1st Special Service Brigade
Victor Maddern Private Hutchinson, 3rd Infantry Division
Howard Marion-Crawford Glider Doctor
Michael Medwin Private Watney, 3rd Infantry Division
Kenneth More Capt. Colin Maud Royal Navy beach master
Louis Mounier Air Chief Marshal Sir Arthur Tedder, Deputy Supreme Allied Commander
Leslie Phillips Royal Air Force officer
Trevor Reid General Sir Bernard Montgomery, Commander Allied Ground Forces
John Robinson Admiral Sir Bertram Ramsay, Commander Allied Naval Forces
Norman Rossington Private Clough
Richard Todd Major John Howard, OC D Company, 2nd Oxford & Bucks L.I.
Richard Wattis British Paratrooper officer, 6th Airborne Division
French[edit]

Actor
Role
Arletty Madame Barrault
Jean-Louis Barrault Father Louis Roulland
André Bourvil Mayor of Colleville
Pauline Carton Maid
Gil Delamare Naval Commando (also was the leading stunt director of the film)
Irina Demick Janine Boitard (French Resistance)
Fernand Ledoux Louis
Christian Marquand Capitaine de Frégate Philippe Kieffer
 Commander French Navy commandos
Madeleine Renaud Mother Superior
Georges Rivière Sergeant Guy de Montlaur
Jean Servais Contre-amiral Jaujard
Georges Wilson Alexandre Renaud
Germans[edit]

Actor
Role
Hans Christian Blech Major Werner Pluskat, 352nd Infantry Division
Wolfgang Büttner Generalleutnant Dr. Hans Speidel, chief of staff, Army Group B
Robert Freitag Meyer's aide
Gert Fröbe Unteroffizier "Kaffeekanne" ("coffee pot")
Paul Hartmann Generalfeldmarschall Gerd von Rundstedt, commander OB West
Werner Hinz Generalfeldmarschall Erwin Rommel, commander Army Group B
Karl John Generalleutnant Wolfgang Häger
Curd Jürgens General der Infanterie Günther Blumentritt, chief of staff, OB West
Til Kiwe Hauptmann Helmuth Lang, Rommel's aide
Wolfgang Lukschy Generaloberst Alfred Jodl, chief of staff, OKW
Kurt Meisel Ernst Düring
Richard Münch General der Artillerie Erich Marcks, commander LXXXIV Army Corps
Hartmut Reck Bernhard Bergsdorf
Heinz Reincke Oberst Josef Priller, commander JG 26
Ernst Schröder Generaloberst Hans von Salmuth, commander 15th Army
Heinz Spitzner Helmuth Meyer
Wolfgang Preiss Generalmajor Max Pemsel chief of intelligence, 7th Army
Peter van Eyck Oberstleutnant Ocker, Pluskat's Commanding Officer
Vicco "Loriot" von Bülow Luftwaffe Chief's aide
Production[edit]
Filming[edit]
The film was shot at several French locations including the Île de Ré, Saleccia beach in Saint-Florent, Haute-Corse, Port-en-Bessin-Huppain filling in for Ouistreham, Les Studios de Boulogne in Boulogne-Billancourt and the actual locations of Pegasus Bridge near Bénouville, Calvados, Sainte-Mere-Eglise and Pointe du Hoc.[4]
During the filming of the landings at Omaha Beach, the extras appearing as American soldiers did not want to jump off the landing craft into the water because they thought it would be too cold. Robert Mitchum, who played General Norman Cota, became disgusted with their trepidation. He jumped in first, at which point the extras followed his example.
The Rupert paradummies used in the film were far more elaborate and lifelike than those actually used for the decoy parachute drop (Operation Titanic), which were actually just canvas or burlap sacks filled with sand. In the real operation, six Special Air Service soldiers jumped with the dummies and played recordings of loud battle noises to distract the Germans.
At $10,000,000, this film was the most expensive black-and-white film made until 1993, when Schindler's List was released.[3]
In the scenes where the paratroopers land, the background noise of frogs croaking "ribbit ribbit" was wrong for northern French frog species and showed that the film probably used an American recording of background night noises.
Colin Maud loaned Kenneth More the shillelagh he carried ashore in the actual invasion, while Richard Todd wore the actual D-Day helmet worn by Major John Howard.
In the film, 3 Free French Special Air Service paratroopers jumped into France before British and American airborne landings. This is accurate. 36 Free French SAS (4 sticks) jumped into Brittany (Plumelec and Duault) on 5 June (11 h 30). The first Allied soldier killed in action was Free French Corporal Émile Bouétard: 6 June (0 h 40) in Plumelec, Morbihan.
The United States Sixth Fleet extensively supported the filming and made available many amphibious landing ships and craft for scenes filmed in Corsica, though many of the ships were of (then) modern vintage. The USS Springfield, and USS Little Rock, both World War II light cruisers (though extensively reconfigured into guided missile cruisers) were used in the shore bombardment scenes, though it was easy to tell they did not resemble their wartime configuration.
Among historical inaccuracies was the calling up of Engineers to "blow a path" through a "sea wall" to allow forward troop movement. The Sea Wall was, at highest, one meter, made of rocks, and lay at the edge of high tide. This barrier was used to prevent erosion and on 6 June 1944, provided cover for the overwhelmed first two waves.[5]
Casting[edit]



John Wayne in The Longest DayThe role of Lieutenant Colonel Benjamin H. Vandervoort was actively sought by Charlton Heston, but the last-minute decision of John Wayne to take a role in the film prevented Heston from participating. At 55, Wayne was 28 years older than Vandervoort at the time of action (and 10 years older in real life). While everyone else accepted $25,000 as payment, John Wayne insisted on $250,000 to punish Zanuck for referring to him as "poor John Wayne" regarding Wayne's problems with his lavish movie The Alamo.[6]
Sergeant Kaffeekanne's name is German for "coffee pot", which he always carries.
It is a common misconception that Bill Millin, the piper who accompanies Lord Lovat to Normandy with his bagpipes, played himself in the film. He was actually portrayed by Pipe Major Leslie de Laspee, the official piper to the Queen Mother in 1961.[7][8]
In Sainte-Mère-Église, Private John Steele from the 82nd Airborne (played by Red Buttons) has been memorialised by the local population with a dummy hanging from a parachute from the church tower on which he accidentally landed.
Richard Todd, who played Major John Howard, leader of the British Airborne assault on the Pegasus Bridge, took part in the real bridge assault on D-Day. Todd was offered the chance to play himself but took the part of Major John Howard instead. In the film, shortly after the British have captured the Orne bridge (later renamed Horsa Bridge), one of the soldiers tells Todd, playing Howard, that all they have to do now is sit tight and await the arrival of the 7th Parachute Battalion, to which Todd's character replies dismissively: "the Paras are always late". This was a private joke, Todd had been the adjutant of the 7th Parachute Battalion on D-Day.
Joseph Lowe landed on Omaha Beach and scaled the cliffs at Pointe du Hoc on D-Day. He repeated the climb for the cameras 17 years later as a serving member of the 505th Airborne Battle Group who provided US Army film extras.
Former US President Dwight D. Eisenhower was considered for the role of himself in the film, and he indicated his willingness. However, it was decided that makeup artists couldn't make him appear young enough to play his World War II self. The role of General Eisenhower went to Henry Grace, a set decorator with no acting experience, but who had been in the film industry since the mid-1930s. He was a dead ringer for the younger Eisenhower, though his voice differed.
The film marked the last film appearance of Sean Connery before he was cast in the role of James Bond. Gert Fröbe (Sergeant Kaffeekanne) and Curd Jürgens (General Günther Blumentritt) would later go on to play Bond villains Auric Goldfinger (Goldfinger (1964)) and Karl Stromberg (The Spy Who Loved Me (1977)) respectively. Connery would later play Major General Roy Urquhart in the 1977 film A Bridge too Far which was also based on a book by Cornelius Ryan. (Likewise Wolfgang Preiss played Major General Max Pemsel in The Longest Day and Field Marshal Gerd von Rundstedt in A Bridge too Far.)
Mel Ferrer was originally signed to play the role of General James M. Gavin but withdrew from the role due to a scheduling conflict.[9]
According to the 2001 documentary Cleopatra: The Film That Changed Hollywood, Richard Burton and Roddy McDowell were so bored having not been used for several weeks while filming in Rome, they phoned Zanuck begging to do "anything" on his film. They flew themselves to the location and each did a days filming for their cameo-performances for free.
Release[edit]
The film premièred in France on 25 September 1962, followed by the United States on 4 and 23 October for the UK.
Unique for British and American produced World War II films of the time, all French and German characters speak in their own languages with subtitles in English. Another version, which was shot simultaneously, has all the actors speaking their lines in English (this version was used for the film's trailer as all the Germans deliver their lines in English). However this version saw limited use during the initial release. It was used more extensively during a late 1960s re-release of the film.
The English-only version has been featured as an extra on older single disc DVD releases.
Awards & nominations[edit]
Academy Awards for Best Art Direction (1962): Ted Haworth, Léon Barsacq, Vincent Korda and Gabriel Béchir (nominated)[10]
Academy Awards for Best Cinematography (1962): Jean Bourgoin and Walter Wottitz (won)[10]
Academy Awards for Best Editing (1962): Samuel E. Beetley (nominated)[10]
Academy Awards for Best Picture (1962): (nominated)[10]
Academy Awards for Best Special Effects (1962): (won)[10]
References[edit]
1.Jump up ^ Solomon, Aubrey. Twentieth Century Fox: A Corporate and Financial History (The Scarecrow Filmmakers Series). Lanham, Maryland: Scarecrow Press, 1989. ISBN 978-0-8108-4244-1. p253
2.Jump up ^ Box Office Information for The Longest Day. The Numbers. Retrieved 13 June 2013.
3.^ Jump up to: a b "Operation Overblown". – TIME. – 19 October 1962. – Retrieved: 23 June 2008
4.Jump up ^ Editors of La Presse de la Manche Notre Jour Plus Long 2012
5.Jump up ^ Omama Beach, 6 June 1944, Joseph Baloski
6.Jump up ^ Wills, Garry (1997). John Wayne's America: The Politics of Celebrity. Simon & Schuster. ISBN 978-0-684-80823-9.
7.Jump up ^ "Piper Bill Millin". The Pegasus Archive. Retrieved 1 November 2007.
8.Jump up ^ "D-Day Piper – Bill Millin". The Miniatures Page. 3 August 2006. Retrieved 1 November 2007.
9.Jump up ^ Notre jour le plus long La Presse de la Manche 2012
10.^ Jump up to: a b c d e "The Longest Day (1962) Awards". Turner Classic Movies, A Time Warner Company. Retrieved 30 April 2008.
External links[edit]
 Wikimedia Commons has media related to The Longest Day (film).
 Wikiquote has a collection of quotations related to: The Longest Day (film)
The Longest Day at the Internet Movie Database
The Longest Day at the TCM Movie Database
The Longest Day at allmovie
The Longest Headache


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Filmography of Andrew Marton
































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Categories: 1962 films
20th Century Fox films
Films about the French Resistance
Films directed by Bernhard Wicki
Films directed by Ken Annakin
Films set in 1944
Films shot in Haute-Corse
Films shot in CinemaScope
Films that won the Best Visual Effects Academy Award
Films whose cinematographer won the Best Cinematography Academy Award
Operation Overlord films
War epic films
Children's films
Children's war films
World War II films based on actual events
World War II films
Films directed by Andrew Marton
Films directed by Gerd Oswald






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