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(Just this week, 12-year-old Arielle Baril performed the aria on America’s Got Talent). The film’s Turandot scene predictably includes one of the most famous arias in the operatic canon: “Nessun Dorma,” sung by the character Calaf. Like Turandot, the film presents executions, torture, Sphinxish riddles, comic foils, hidden identities, ample plot twists, and big musical scores. He turns Rogue Nation into a modern-day opera. ) But McQuarrie does more than just call upon the trope.
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(A staging of Puccini’s Tosca, for example, appears in the 2008 Bond film Quantum of Solace as well as the 2006 PC game Hitman: Blood Money. And here director Christopher McQuarrie plays up a trope found in many movies and video games: the spectacle of the opera house showdown where heroes and villains run around backstage and over the rafters, duking it out to the melodramatic lyricism of this highbrow genre. Hunt goes to the opera house on his suspicion that Lane would try to assassinate the Austrian Chancellor during the performance. But at three other moments in the film, Kraemer cleverly fills in the gaps with a musical device: a melodic motif from Giacomo Puccini’s Turandot, the opera that Hunt and Faust both attend in Vienna early in the movie. With the plot zipping along at breakneck speed, Hunt and Faust swap few sentimental words throughout the film. Miraculously, both Hunt and Faust make it out alive.
Then the soundtrack revs up again, punctuated by the rat-tat-tat of bullets. In this moment of silence, Hunt and Faust stare into each other’s eyes, shot-reverse-shot, telepathically planning the next few seconds. For a film score otherwise loaded with soaring strings and bombastic brass, an audience may even have reason to think the audio is malfunctioning. Zero music, zero sound effects, zero dialogue (and in my theater, dead silence as viewers held their breaths). But instead of amping up this tension with fanfares, composer Joe Kraemer offers a sonic gap. It’s a crucial scene: Hunt and Faust sit outdoors on a restaurant patio as Lane’s armed henchmen close in from all sides. Perhaps the answer lies in five seconds of complete silence.
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Plenty of chemistry bubbles up between these leads, but the romance never reaches full boil.
As rogue agents, Hunt and Faust engage in a deadly tango, alternately aiding and betraying each other as they seek their own ways of taking down a global crime syndicate.
Hunt, in his pursuit of terrorist Solomon Lane (Sean Harris), meets the inscrutable Ilsa Faust (Rebecca Ferguson).
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No sound of lips locking between hero and love interest to bring about the intimate closure audiences expect.Įthan Hunt (Tom Cruise) isn’t exactly a womanizing Bond, but these days, any blockbuster movie that waives the routine kiss would seem to pull off, well, the impossible. Against a fist-pumping musical score, there’s a gaping silence: no smooch. įollowing the film’s slew of acrobatic feats and chase scenes, the hero doesn’t get the girl in the end. Your mission, should you choose to accept it: name a Hollywood action movie that doesn’t contain a kiss.Īnd yet that’s the most subtle stunt Mission: Impossible – Rogue Nation pulls off.