Amos Burke was a Los Angeles chief of detectives who was also a millionaire with a chauffeur-driven Rolls Royce, a mansion, and a high-wheeling lifestyle. The hallmarks of this series were ... See full summary »
Due to a political conspiracy an innocent man is sent to death row and his only hope is his brother who makes it his mission to deliberately get himself sent to the same prison in order to break the both of them out from the inside out.
Three vietnam veterans (Nick Ryder, Cody Allen and Murray Bozinsky) now work as private eyes in sunny southern California. Nick and Cody are the muscles and Murray is a computer wizard of ... See full summary »
Jim Phelps is the head of a super-secret government agency ("Impossible Missions"), and is often given secret anonymous covert missions to attempt; quite often they are unmasking of criminals or the rescuing of hostages. He picks his team depending on which tasks need to be done. One thing is vital on an Impossible Mission: the mission must be carried out in entire secrecy, often relying on high-tech equipment and elaborate deceptions. Written by
Murray Chapman <firstname.lastname@example.org>
The faceless figure shown striking a match in the opening credits is Bruce Geller himself. It wasn't until the 1988 revival of the series that an established character (Jim Phelps) was shown lighting it. See more »
Multiple episodes set in European countries have Barney working on electrical wiring to achieve the team's aim, yet the switchgear, outlets, and other equipment depicted is North American. See more »
Voice on Tape:
As always, should you or any of your IM force be caught or killed, the Secretary will disavow any knowledge of your actions. Good luck, Jim. This tape will self-destruct in five seconds.
See more »
Many episodes end with a freeze-framed pan-and-tilt shot of the IMF team's getaway vehicle, with series creator Bruce Geller's credit superimposed over the shot. See more »
One of my fondest memories of TV viewing in the late 60's and 70's, was the weekly hour of tension which Mission Impossible provided. There was the initial bewilderment of trying to work out how on earth the brief flashes of peculiar devices and tension-ridden confrontations could possibly be woven into a coherent plot. Next, there were the wonderfully mundane locations in which Peter Graves would retrieve the briefing materials and the tape which invariably dissolved in a cloud of smoke.
After all the introduction, the remaining fifty minutes was sometimes an anti-climax. More often, it was very satisfying to see the initial vignettes fitted jigsaw-pattern into the plot. Perhaps towards the very end of the series, the plots became a little stilted or physically impossible; but invariably entertaining.
Like most fans of the original series, I found the over-hyped film of the same name to be an facile and shallow work with no redeeming features. I would die happy seeing a film in which Martin Landau, Peter Graves, Greg Morris et al. emerge creaking from retirement to save the day, and as they so often did, drive off leaving thwarted villains to turn on each other.
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