The IMF is up against a contract killer who makes decisions at random at the last minute to ensure his moves are unpredictable. As Barney stands in for the intended victim, the IMF must prepare for ...
The team's latest mission has them trying to root out a network of spies, who were brought in by an American photographer. Problem is the code that he and his handlers communicate with unbreakable. ...
Jim Phelps so-called irreparable mission was a success in the eyes of those above him. However, with the loss of a fellow agent, and his branch Director Yomin, Phelps sees the glass as only... 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>
In the first episode "Memory", Briggs did not receive his instructions via a tape or filmstrip projector, but on a card handed to him by a photographer. See more »
In many episodes, Jim closes the snap binding on the IMF folder, but when the camera zooms to it for the title sequence the snap is shown open. 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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