"Mission: Impossible" -- the old TV series (long)

For the past couple months, I’ve been watching reruns of the old Mission: Impossible television series, which aired from 1966 to '73. Along the way, an odd collection of musings have been building up in my late-night affected brain, and I thought I’d share. Partly for therapeutic purposes.

Steven Hill. Mary Mother of God. Who’d have thought.

I knew this actor only from his 1990s role in Law & Order, as the old, gruff, fat and balding district attorney. I was flabbergasted to see him as a thin young man, running around, grinning, jumping out of moving vehicles, punching out bad guys. The contrast makes one stop and think a bit — perhaps about one’s own fattening and balding tendencies.
Title: Misleading. Although the show is called Mission: Impossible, I can’t help noticing that our heros manage to bag every single one of their missions. Maybe you noticed this too. These are what I call demonstrably possible missions. I suppose the show wouldn’t have been very satisfying, or long-lasting, had the title been honored literally.

In fact, you’d have to wonder how the Impossible Mission Task Force came to be created in the first place, given that name. If I were a U.S. senator on the Intelligence Committee when this thing was being proposed, I think I’d ask, “Well now, if you won’t be able to accomplish any mission assigned to you, by definition, then what the hell’s the point? Hmmm?” Those would be my first two questions, verbatim.

So I propose that the show be renamed retroactively to: Mission: Thorny and Difficult To Be Sure, Even Vexing, But Well Within the Reach of Those With Sufficient Training, Initiative, and Unlimited Funding.
What I’d like to see, just once. Mr. Phelps (Peter Graves) is at the “drop” site, listening to the tape and looking over the photographs and maps. The tape concludes, “Your mission, Jim, should you choose to accept it, is to kidnap the Zamboni ambassador and find out when and where the counterfeit nickels will arrive in the United States. As usual, should any of your team be captured or killed, the secretary will disavow any knowledge of your actions. Good luck, Jim! This tape will self-destruct in five seconds.” Tape goes up in smoke.

Peter Graves raises his eyebrows, snorts, and says, “Well, that one’s a turkey. Pfff!” Then he walks off into the distance, strolling casually down the street, whistling and doing a little window shopping. Stops in a diner for a cheeseburger. Roll credits.

It could be a very special three-minute episode of Mission: Impossible.
Favorite episodes. I think my favorites so far are the ones where our heros transport the villain into a fake version of the distant past or future, which he doubts initially but falls for in time, and then, just as planned, reveals the big criminal secret he was selfishly keeping to himself. There are two episodes I’ve seen like this: (#1) William Shatner, as a seasoned gangster, is made to think he’s back in the Depression era as a young gangster, on the day he’s thought to have murdered a rival (whose body was never found). He and his old “friend” murder the man again, or so he thinks, and he then unwittingly leads everyone to where the body is buried.

Then there’s (#2) — a traitorous nuclear physicist is knocked out, and when he awakes, is made to think he’s in the year 2000, living now as a prison laborer in the dismal aftermath of a nuclear war. He freaks out over this for quite a while (to pad the script, I think), but eventually tells where he’s hidden the nuclear fuel that he stole earlier, “back” in the year 1972.

I think I like these episodes because it’s so implausible you could pull off such schemes. There would be a hundred things our heros might overlook in their otherwise meticulous planning, all of them giveaways. (“Hey, I didn’t have this scar when I was twenty!”)
Catch as cats can. In one episode, our heros need to steal an amulet. (Or was it a bracelet? Something like that.) The amulet sits on a pedestal in a vault room with high security. They don’t dare enter the vault themselves. Any noise they make, any pressure they put on the floor, will set off the alarms. And apparently they can’t disable the alarms in this episode. Fine. You play the hand you’re dealt.

The team’s solution? It’s obvious, really. (You’ll thump your head on the desk when I tell you.) First, infiltrate an adjacent room and set up shop. Cut a square hole about two-foot wide in the wall, opening into the vault room. Scoot a very long plank out through the hole, all the way across the room, letting the far end rest on the pedestal with the amulet. Let the near end rest on the bottom edge of the hole you cut.

Then, bring out the orange cat.

Yes, a cat. This was the villain’s oversight! No counter-cat measures had been taken whatsoever. I’d call it poor planning, really. They just didn’t look at all the angles.

You can see now how it’s going to go down. Team puts cat on the plank. Cat trots down the plank — pausing occasionally to watch pretty hallucinations, as cats do — but finally makes it across and grasps the amulet in his mouth. Cat trots all the way back, after some more suspenseful pausing mid-plank. Then, quickly but smoothly, the team wraps it up. Grab the cat and amulet. Pull back the plank. Patch up the hole. Skedaddle. Mission accomplished. (Commence thumping.)

Now call me a wet blanket, but I say this plan was a tad risky, just a tad, for depending so critically as it did on a cat. Oh sure, this one occasion was a brilliant success. I guess someone must have spent years, decades, training this cat so that it wouldn’t hop down at the first opportunity, or curl up mid-plank and start napping, or go bounding after a fly, real or imagined, that it spotted.

But I still say, if you have designed a mission plan which at some point says something like, “Step 23: Deploy house-cat”, then might I suggest you back up a few steps and re-consider. Really. Your plan needs a little peer review, as we call it in my line of work.

These are just my thoughts.

For me, it’s when they go in the other direction.

Take, for example, THE HIT, where Jim comes up with an elaborate plan built around the fact that Willy Armitage – a record-breaking weightlifter who can beat a jujitsu expert in a straight fight and works as a circus strongman in between shooting various people in between beating the hell out of various other people – is an insanely scary guy.

Step one is to put a homing device in a car near the prison where the lieutenant of a secretive mobster is serving time. Step two is to send in Willy as “that brawny convict who just now beat the hell out of someone right in front of the lieutenant.” Step three is to send in Barney as “that brainy convict who can escape from prison.” Step four is where Jim and Mimi – with an assist from Willy, who’s no longer needed on the inside – work on the outside to make it look like the secretive mobster just killed off a loyal employee of the imprisoned lieutenant. Naturally the lieutenant decides to escape with Barney; a guy could get killed in here, otherwise; why not pop out by the car and drive straight for the secretive mobster? Ah, but something goes wrong: they pop out somewhere else entirely, and start heading for the mobster in a different car.

So the episode is almost over, and our heroes have no idea where Barney and the lieutenant are. Fortunately, though, Willy is an insanely scary guy: put him in a small room with that loyal employee and he’ll get the mobster’s identity in no time flat. And so Willy then makes for the address, arriving just in time to order around the lieutenant and the mobster at gunpoint.

To recap; Jim, who could only come up with an elaborate con built around Willy being insanely scary, didn’t really need an elaborate con, because Willy is just that scary.

Yeah but we’re the guys with the white hats.

Personal favorite episode (though I haven’t watched them all) is The Mind of Stefan Miklos.

Everything else I can get on board with, but I gotta say with this one.

The missions are impossible for everyone else except this team which is the last resort when everyone else says “That’s Impossible”. :smiley:

I’ve been re-watching this series recently as well. And what I wonder most is how the government recruited this team. Basically what they do each week is The Big Con. So they would need a team of con-men. But because there’s really no profit in these operations, they would need con-men who also were super patriots, which I would imagine would be a pretty small sub-set of the available candidates.

Two points:

  1. Steven Hill was a devout Jew who claimed he quit the show of his own volition because it required too much taping on the Sabbath.

  2. I will NEVER forgive Tom Cruise for refusing to allow any cameos by the original TV cast AND for making Jim Phelps the bad guy in his movie.

The first season of Mission: Impossible was by far the best; Stephen Hill was much better than Peter Graves. And while Hill did not want to tape on the sabbath, the producers were already looking for a replacement, since they felt his character wasn’t working and wanted a generic action hero instead of a brainy mastermind.

As for the title: the missions weren’t impossible – they were seemingly (or legally) impossible. The government couldn’t figure out a way to handle them, so they turned them to the IMF.

As for favorite episodes, that would be “Dubrovnik’s Ghost,” really more like a Twilight Zone episode, but still very satisfying.

From what I can remember of the show, I always figured that the “Impossible” referred to the fact that what needed to be done could not be done legally. Many of the missions involved international politics in some unspecified Central/South American or middle European country (hence the “the Secretary will disavow any knowledge of your actions” at the end of the tape).

He was born in 1922. I’d be happy to still get big roles as an acter at age 68. I mean dang, what do you expect?

Hence, my quotation marks around the word “claimed.” I wasn’t totally convinced Hill’s story was the last word on the matter. IF Bruce Geller and the network really wanted to keep him, I suspect they’d have found a way to accommodate him.

Exactly. Hill’s claim is true, but the producers were happy to take that out.

When watching several episodes over a few days I noticed that they sometimes re-used the same opening footage of Stephen Hill and Peter Graves arriving at the location and getting the mission instructions. Easy to see why. The instructions were just a voice-over and you could cut in inserts of anybody’s hands shuffling through the photographs.

Any “Mission:Impossible” thread should include the information that the team meeting scene, at the beginning of the episode, took place on a set decorated in blacks and whites and that the team always wore only black, gray and white clothing.

I’m not so sure of that; plenty of the missions involve (a) getting millions away from one bad-guy organization or another, which is (b) how our heroes can frame one of the bad guys for pulling an inside job – at which point no one mentions what happened to the money. Slap that on top of the episodes that involved swiping a huge cache of Nazi gold or cheating a cheater at high-stakes baccarat and I’d figure they’re turning a profit no matter what you think of all those episodes where they first pull a low-level heist to set up the big con.

(I mean, if they’re trying to convince some mobster that they can break into his hated rival’s stronghold – well, you do that by trying to fence the other guy’s valuable stamp collection, after breaking in and stealing it. And if guest star Robert Conrad is ultimately going to get tricked into digging up the body of a guy he murdered some time back – well, step one is for Jim and Willy to shove guns in his face and steal the money he was running for his boss. None of it is up there with swindling the syndicate out of four million at the racetrack or whatever, but it maybe adds up okay.)

This is just about my favourite TV adventure show ever.

Some people point out that it is implausible or far-fetched. I think they are missing the point. One reason I love the show so much is that at no point did they ever let realism or plausibility interfere with a darn good yarn. It’s pure escapist hokum from start to finish, and that was part of its charm. If you want realism, watch the news.

The crazier it got, the more I liked it. Their most extreme conceit, of course, was to suggest that a rubber mask could achieve such a complete transformation that even the villain’s closest friends, family, spouse and partners would never realise what was happening. Utterly ridiculous, of course, yet I love the episodes built around this idea.

In most cases, the appeal of the show was not that it was at all realistic or plausible, but that it was satisfyingly ingenious and cunning. In one episode, the mission revolved around getting someone out of a high security prison, and the prison featured a contraption that counted how often this guy’s prison door was opened. The team’s first step was to exchange the guy’s fingerprints, held on file, for some completely different prints. They then infiltrated the facility at night and got the guy’s door open, but told him to stay where he was and not escape. Then they closed the door.

Come the morning, the villains notice that the guy’s cell door has been opened. They have their suspicions that maybe the prisoner escaped, and a lookalike or ‘double’ was incarcerated in his place. How to check? Ah, they have the bright idea of sending for his fingerprints to check if it’s really him. They check the prints, find there is no match, conclude that he’s just a substitute lookalike, and kick him out of the prison as worthless!

I don’t have one favourite episode, but I prefer the one or two seasons after Peter Graves had joined and before Landau + wife left. That was the ideal line-up for the show, and I do wish that team could have stayed together for longer. It was never quite as good afterwards.

Have to disagree about Steven Hill. I didn’t care for him at all. Peter Graves as Jim Phelps… that’s who is in charge of the IMF, now and forever. The Tom Cruise movies either don’t exist or they must be strictly sealed off from the TV series and regarded as non-canon.

I loved this show growing up (in reruns) but haven’t seen it in over two decades, so my memory of individual eps is pretty dim–though I remember I always preferred the international intrigue stories over the mob ones (although they probably glossed over all the language challenges that would be endemic to such a mission). I’m almost afraid to revisit the show because I was such a big fan as a kid, but I’m sure my curiosity will get the better of me someday.

Lalo Schifrin’s music was great: not only the title tune (the best in TV history, IMHO), but also a lot of the incidental music. If you’re a fan of the show, this CD is absolutely essential.

And while I think Barbara Bain always did a fine job as Cinnamon Carter, I’m always a bit flabbergasted that she won 3 consecutive Emmys for Lead Actress in a Drama! Maybe it was because she’d immerse herself in a variety of roles, showing her Range with a capital R, but I also wonder if the quality of writing for female characters on television at that time was just incredibly sparse. I do think it’s cool that the show itself won Best Drama twice, though Schifrin, alas, never won for the show despite 3 nominations over the course of the series run (although he did win a Grammy).

The only film in the series that I don’t mind is the third one, because despite the going-rogue premise, it’s the only one with a decent villain (Phillip Seymour Hoffman) and the only one that actually embodies the team mentality that made the show so special. The first one had too many traitors and double agents, and the second was just a huge barrel of stupid, and had romantic entanglements that were antithetical to what IMF was all about.

Well, there was a little more to it than that; IIRC, the team’s strongman rope-climbed his way across the room, several feet off the pressure-sensitive alarm-floor, to reach the cell and repeatedly gash its lock with a small prybar.

Of course, it didn’t do much more than scratch the paintjob. But it scratched the heck out of that paintjob, which caught everyone’s eye come morning: that’s why the guards checked the counter Barney had taken care of (after he’d broken himself and Willy out of their cell), and why the guards then went to the filing cabinet – where Rollin (who had the credentials of a high-ranking officer and wasn’t going anywhere near the sensitive areas) had smuggled in the fingerprint card, and passed it to Cinnamon (who also had solid credentials, but got routinely strip-searched because she was set to go near secure areas) when Jim made an insanely brief diversion.

I’ve bought and watched all the old episodes on DVD (just waiting for the last season to come out later this year) and they’re very dated. But that actually adds to the charm and enjoyment of watching shows that displayed very old technology (like phones, computers), old cold war thinking, etc. For me, the most unbelievable part of the episodes was how the bad guys were totally fooled by Rollin or Paris assuming someone else’s identity through make-up and wigs! Are you kidding me?! Maybe you can deceive from a distance, but not right up close. So suspension of disbelief was required there.

One other thing about those old MI shows. When you watch them on HDTV you can see how they did some of the special effects. In one episode you can literally see the strings holding up something that was supposed to be floating!

My favorite part was always trying to guess whether the mythical country was eastern European, Latin American or wherever by how the police cars were labled:

Polizia
Policia
Polize
Polici
Poliza

and so on.

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