|3.||Good evening, Mr.Hunt||2:37|
|4.||Escape to Danger||2:47|
|5.||Havana to Vienna||5:14|
|6.||A Flight at the Opera||2:23|
|13.||A Matter of Going||5:06|
|14.||The Blenheim Sequence||4:02|
|15.||Audience with the Prime Minister||4:25|
|16.||This is the End, Mr.Hunt||3:50|
|17.||A Foggy Night in London||2:11|
|18.||Meet the IMF||1:48|
|19.||Finale and Curtain Call||6:14|
| ||73:46| Submit your review
With a theme that is as familiar as the JAMES BOND THEME, JAWS and Henry Mancini’s PETER GUNN, The MISSION IMPOSSIBLE series of movies has over the past few years become hot property, but in fairness the appeal of the basic framework of the storylines for both big screen and television have never left the publics interest. The television series for me as a youngster was a must see and I think I am right in saying it was around the same period as THE MAN FROM UNCLE and THE AVENGERS all three of course being essential viewing for any young lad with an appetite for adventure, offbeat storylines and an ear for an infectious theme tune. I have to say I am not the biggest Tom Cruise fan in the world, but what he has done for the MISSION IMPOSSIBLE franchise is in a word phenomenal. He took the basics of the original series and stories and transformed these into more upbeat and hi tech tales for the current cinema going publics taste, including numerous daring stunts and exciting and exhilarating scenarios filled with at times complex plots which left even the most attentive audiences guessing as to what the hell had gone on. All through Mr Cruise’s involvement with MISSION IMPOSSIBLE I am pleased to say that as a producer he insisted that the original theme composed by Lalo Schifrin remained or at least various permutations’ and arrangements of it and in interview even tells people how much he loves the music. The movies have been scored by a handful of top notch Hollywood composers, Danny Elfman who provided the score for the first in the series, Hans Zimmer who worked on instalment number two and Michael Giacchino who provided the scores for three and four, plus of course Alan Silvestri’s rejected efforts on the first chapter. Adding his considerable musical know how and talent to the latest MISSION IMPOSSIBLE outing ROGUE NATION is composer Joe Kraemer. I have for a while admired this composers work, but unfortunately he never seemed to receive the credit and recognition he so richly deserved. I first heard his infectious music in the movie THE WAY OF THE GUN,(2000) which at times evoked the style of Jerry Goldsmith. Kraemer has I suppose done very little compared with many of the other composers who work in Hollywood, but the few projects he has been involved with have all included outstanding soundtracks. As well as THE WAY OF THE GUN the composer began to be recognised as a composer of note by collectors etc when he wrote the score for JACK REACHER another Tom Cruise movie in 2012 and his subdued but interesting score for FAVOR (2014) also attracted the attention of many. In certain areas THE WAY OF THE GUN and his music for the TV series FEMME FATALE is akin to the type of score that the composer has penned for the latest MISSION IMPOSSIBLE.
Bold expressive thematic material is supported and underlined with tense but at the same time melodic sounding passages, with the emphasise on brass and percussion alongside tense sounding strings and infectious backing tracks that combine to create an atmosphere that is nail bitingly nervous and taught. Mixed in with Kraemer original music we have that oh so familiar theme all’a Schifrin which every so often Kraemer skilfully introduces into the proceedings intertwining his new musical highs with the vintage sounds of Schifrin which amid
the tense sounding compositions suddenly bursts into life taking the listener on a helter- skelter ride musically, literally having everything that the orchestra has to give thrown at them. I liked Giacchino’s take on the MISSION IMPOSSIBLE scores but Kraemer’s approach I love, it is like listening to a sixties score, it is grand, pulsating and unrelenting plus it has real themes, this for me is a joy.
Kraemer composed a motif for Ethan Hunt that is “a sort of upside-down answer” to Lalo Schifrin’s original theme for the TV show. “In keeping with the goal of paying homage to original show, while still sounding relevant to today’s audiences, I decided I would only use instruments that were available in 1966, when the TV show began,” Kraemer stated. “That meant no synthesizers, no techno loops, essentially no electronic instruments at all. As a result, the score has been performed entirely with acoustic instruments in a symphonic orchestral setting.”
Joe Kraemer has been scoring films since the age of 15, when he composed the soundtrack for high school classmate Scott Storm’s THE CHIMING HOUR, a feature-length indie shot on Super 8 in 1986. It was during this time that he first met a young writer named Christopher McQuarrie, a meeting that would lead to three career-defining projects for Kraemer, THE WAY OF THE GUN, JACK REACHER, and the upcoming MISSION: IMPOSSIBLE ROGUE NATION. Kraemer attended the renowned Berklee School of Music in Boston to study Film Composing. Kraemer’s first real ‘industry’ gig was scoring the NBC/Warner Brothers pilot THE UNDERWORLD, written and produced by Christopher McQuarrie, shortly following McQuarrie’s Oscar win for THE USUAL SUSPECTS. Though the series was not picked up, the pilot was ultimately repurposed as a TV movie, where it has gained a cult following.
Ethan Hunt (Tom Cruise) and his team take on their most impossible mission yet in MISSION: IMPOSSIBLE ROGUE NATION. Jeremy Renner, Ving Rhames, Simon Pegg, Rebecca Ferguson and Alec Baldwin also star in the fifth installment in the blockbuster franchise. The film is directed by Christopher McQuarrie and will be digitally re-mastered into the immersive IMAX® format and released in IMAX® theaters worldwide beginning July 31st.
“The setting is very high-tech,” said Kraemer. “As I had endeavored to avoid electronic instruments in the score, I had to find another solution that felt electronic, but was in fact acoustic. When Christopher McQuarrie heard the music I wrote for that scene, he encouraged me to expand its use to other parts of the film.”