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Tom Cruise Recalls the ‘Mission: Impossible’ Stunt That Left Everyone in Shock
Tom Cruise, the star of blockbuster franchises Mission: Impossible and Top Gun, has spoken about one of the most daring stunts in the Mission: Impossible franchise – the rock-climbing sequence in Mission: Impossible 2.
Although Hollywood star Tom Cruise is not so open to revealing the secrets behind some of his most amazing scenes in the Mission: Impossible franchise, the actor has looked back on one of the stunts that doesn’t get often mentioned because it took place 25 years ago.
The rock-climbing sequence in Mission: Impossible 2 was a breakthrough moment for the franchise, showcasing Cruise’s willingness to push the boundaries of action filmmaking.
The scene, which features Cruise free-climbing at jaw-dropping altitudes, was not performed by a stunt double but by Cruise himself.
The Challenge of Filming
Filming the rock-climbing sequence was a challenging task, with weather conditions posing a significant obstacle.
Cruise has spoken about the difficulties he faced, including the rain that lasted for 40 days, making it difficult to film.
The studio was hesitant to continue filming, but Cruise pushed for the sequence to be shot, even when the weather conditions were not ideal.
As Cruise explained to Empire magazine, “I felt like Noah. And the studio was like, ‘Listen, because of the rain, and [because] the schedule is over, let’s find another opening to the movie.’ Every day people were coming in with different pitches. I was like, ‘I don’t know how else to open the movie.’ So, now we’re into the winter months in Moab, I’ve flown all the way from Australia, and there are gale-force winds. So we can’t even have my crew up on the mountain. I have pushed the studio for the opening of this movie, and you can’t even get there to set up the camera.”
The Dangers of the Stunt
Cruise has spoken about the dangers of the stunt, including the risk of falling and the softness of the rock.
He explained, “This is back in the days where you didn’t have radios, and I’m free climbing as I’m going up to where I need to be for that opening shot. I had to pace myself, because I had to climb down afterwards, and if I fall, there’s a cable that’s going to get me, but I’m going to be slamming up against the mountain. And the rock is very soft rock. At certain times you’re going, ‘Jesus, I’m sliding, it’s breaking away.’ As I’m doing the Iron Cross (the move where he is suspended between two pieces of rock), I’m actually hanging there, but it isn’t quite right, and you can see it. I was like, ‘Just tell me this is the shot, because I can’t do it again.'”
The Terrifier Franchise – A Study in Shock Value
The Terrifier franchise has been a success among horror fans, with its scenes of unrelenting violence and chief antagonist, Art the Clown.
The series has been praised for its use of practical effects and carnage, which has reportedly traumatized some members of the viewing audience.
A History of Artistic Transgression
The Terrifier franchise has been compared to other films that have pushed the boundaries of violence and shock, such as the Grand Guignol and Martyrs.
The Grand Guignol, a theater operating in Paris in the late 19th century, seamlessly merged comedy and violence in grandiose stage productions that, while shocking audiences, also provided a satirical look at current events and grounded their horrors in reality.
Martyrs, a film from the French extremity movement of the early 2000s, was shocking to its core, yet also touched upon the French national identity found in martyrdom, with some scenes paying homage to Carl Theodore Dreyer’s 1928 film, The Passion of Joan of Arc.
The Pitfalls of Relying on Shock Value
The Terrifier franchise has been criticized for relying too heavily on shock value, with little else to offer beyond visceral imagery and attempted transgression.
As one critic noted, “The success of the original called for future installments. There is a development in stylistic approach, which deserves to be praised, but apart from presentation, ramping up the violence to new heights is the only notable accolade in the sequels that have followed.”
The Dichotomy of Entertainment and Art
The Terrifier franchise raises questions about the role of shock value in entertainment and whether it can be used to create art.
As one expert noted, “It’s true that not every film needs to have a deep-rooted socio-political commentary on current events or needs to be on par with directors such as Federico Fellini, R.W. Fassbinder, Ingmar Bergman, or Pier Paolo Pasolini.”
However, the expert also noted that “when it comes to a means of escapism and entertainment, there needs to be a certain level of depth and complexity to the storytelling and the themes presented.”
Conclusion
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