Mission: Impossible - Fallout

SPOILERS AHEAD. I find it a bit paradoxical to blame Fallout for being so reminiscent of Rogue Nation. Isn’t a certain degree of similarity, the certainty that we more or less know what awaits us, the reason that we like movie franchises, whether it’s Bond films, Marvel movies or the Star Wars saga? Besides that, Fallout offers enough specific elements to keep it from being interchangeable with its predecessor and it continuously highlights a certain cyclical nature that Ethan Hunt encounters in his life. ___ Unlike the previous instalments, this one makes greater use of a subjective narrative (dreams, ideas) and more frequently brings up the protagonist’s past, which suddenly began to burden him (similar to Bond in Skyfall). His dilemma – whether to help one beloved person or to save millions – is manifested especially in the female characters (Julie, Ilsa, the French policewoman). The central conflict established by the first scene (including a copy of Homer’s Odyssey, in which the mission is given to Hunt) is based on a desire for harmony, accompanied by concerns that he will irreversibly disrupt it with his actions. In fact, he “only” seeks inner peace (similarly to Ilsa wanting to return home). ___ Two and a half hours of the movie are then filled with various complicated deferrals of this goal (toward which it is necessary to work through several constituent tasks), which at first seems to be within reach (trading in plutonium), but gradually becomes more distant the harder Hunt and his team try to achieve it (basically in accordance with one of the meanings of the subtitle, they fall ever deeper). Hunt unwittingly contributes to the implementation of the villain’s plan and thus to the realisation of his worst fear from the opening scene. ___ The constant uncovering of the identities of double and triple agents who plot against each other (of which we are sometimes aware and sometimes not) shows how difficult it is to recognise reality in an unstable postmodern world of simulacrums (see also the scene in which Benji guides Hunt through a 3D space according to a 2D map) and offers – above all – more and more pretexts for the spectacular action on which this franchise is based and to which the logic of everything else is subordinated. So, yeah, the villain has to leave London from the tower of the Tate Modern gallery, Hunt has to ride around the Arc de Triomphe at full speed in the wrong direction, and he has to skydive into Paris from seven kilometres up, because it looks fantastic and will boost your adrenaline level. Suspension of disbelief. Alfred Hitchcock. If you have a problem with that, you will find it excessive and improbable, any you will unfortunately not fully enjoy Fallout. ___ By giving us the dizzying feeling of straddling the boundary between life and death, Fallout is reminiscent of great grotesques like The General and Safety Last! (though Cruise bases his performances on speed and strength rather than physical acrobatics). With their rhythm, use of deadlines, inventive incorporation of Schifrin’s motif and the way everything smoothly fits together in the end, the action scenes are incredibly intoxicating, while also being sufficiently diverse in terms of vehicles, combat methods, multiple storylines running in parallel (in this regard, the final action scene is very Nolan-esque) and the extent of our awareness of what’s going on, which contributes to the fact that we often do not know with certainty whether we are seeing the fulfilment of a premeditated plan or improvisation. ___ Life supposedly flows in spirals and Fallout is structured accordingly, as it repeats situations that we saw in the first half of the film (a shootout in the London underworld is strikingly reminiscent of the handover in Berlin) or in previous instalments of the series with a slight alteration of forces, which the characters are aware of, knowingly winking at each other (and at us) and making fun of their (again) seemingly zero chance of success and survival. The episodic narrative, composed of several outstanding action sequences with their own patterns of development and breathtaking gradation, is again not only utilised, but also reflected. There is no way for anything to end except with a spectacular cliffhanger. ___ Sure, Fallout could have been shorter, less overloaded with plot twists and more focused on the action than on the characters, but in terms of the development of today's world and the Mission: Impossible franchise, I find its more pronounced melodramatic nature (which contributes significantly to the longer runtime) and greater prevalence of postmodern doubt about what is actually real to be a logical way to raise the stakes without resorting to excesses likes those put out by the creators of Fast & Furious. Of course, it can’t be ruled out that Hunt will race with tanks and submarines next time. He evidently still has the physique for that. 90% (03/08/2018) (moins) (plus)