At the 1996 premiere of Mission: Impossible, Tom Cruise sought out Lalo Schifrin, the jazzy Argentine composer responsible for the franchise's main theme. According to Schifrin, Cruise hugged him (twice) and expressed his love for Schifrin's work, citing the music of the Mission: Impossible television show as one of the main reasons he decided to get involved with the movie adaptation.
Known for jazz compositions and most recently coming off of scoring Steve McQueen's The Cincinnati Kid, Schifrin had little to go on when initially commissioned by series creator Bruce Geller for his new CBS show in 1966. He knew it was a spy series and that most episodes would begin with the image of a fuse being lit. Working under the title "Burning Fuse," Schifrin composed the theme at his desk in 90 minutes, incorporating bongos, bursts of percussion and an unusual 5/4 time signature.
The theme would go on to be a hit with television audiences of the '60s and '70s, enduring today as the introduction to Cruise's gravity-defying (and age-defying) stunts, and one of film's most beloved, and recognizable, theme songs. We're forever grateful Schifrin accepted Geller's mission and couldn't imagine Ethan Hunt's adventures without it.
As we watch Cruise return to the composer's syncopated rhythms in Paramount Pictures' Mission: Impossible — The Final Reckoning, in theatres May 23, we look back at some of cinema's other greatest themes and songs that have carved a place in movie history and audience's hearts.
Mission: Impossible 2
"Take A Look Around," Limp Bizkit
It didn't take long after Lalo Schifrin's theme hit the tube in 1966 for a cover version to emerge, with Jimmy Smith recording the tune for his 1968 jazz album Livin' It Up. Since then, the Mission: Impossible theme has been covered, adapted and re-imagined numerous times, including Limp Bizkit's memorable contribution to the Mission: Impossible 2 soundtrack. Also featured on the album Chocolate Starfish and the Hot Dog Flavored Water, "Take a Look Around" begins with a vibey guitar take on the spy theme before Fred Durst's vocals take over. An early adopter of the popular rap metal crossover of the 2000s, "Take a Look Around" matches beat for beat the John Woo-stylized sequel that saw Cruise climb to new heights, literally.
Blue Hawaii
"Can't Help Falling in Love," Elvis Presley
Elvis Presley's Hollywood years aren't exactly seen as a fruitful time for the singer as he spent a decade acting in increasingly cheesy musical beach comedies, but the one bright spot in retrospect is the number of great songs he recorded for various films — his rendition of "Old MacDonald" for Double Trouble, notwithstanding. Since its inclusion in 1961's Blue Hawaii, "Can't Help Falling in Love" has become an Elvis classic. A simple ballad with a Hawaiian twang, the King notably performed this song as the finale at each of his concerts from 1969 until his death, and is arguably one of the most popular wedding songs today.
One of the best examples of a song elevating a film and vice-versa, Eminem's "Lose Yourself" is a masterpiece. Not only do the lyrics describe the plot of 8 Mile, the aggressive delivery and instrumentation perfectly reflect the film's subject, all without being too heavy-handed. In a career filled with hits, "Lose Yourself" still stands as the rapper's most successful, winning countless awards, including the Academy Award for Best Original Song. It even propelled Eminem into the restaurant game with the 2021 opening of Mom's Spaghetti in Detroit — surely one of the only eateries named after vomit.
Ghostbusters
"Ghostbusters," Ray Parker Jr.
A deliciously '80s-tinged single, Ray Parker Jr.'s "Ghostbusters" is as synth-y and electric as the decade would allow. The track lends the film its trademark "Who you gonna call?" tagline, but perhaps its best offering to the movie is the Ivan Reitman-directed music video, in which Parker portrays a ghost haunting Cindy Harrell. The video features an all-black haunted house accented with neon lights and Parker crooning about something strange in your neighbourhood. "Ghostbusters" has been sung and watched by generations of kids, leaving an indelible mark on our childhoods.
Harry Potter and the Philosopher's Stone
"Hedwig's Theme," John Williams
Few composers have contributed to film as much as John Williams. In a career spanning seven decades, Williams ingratiated himself into the new millennium with "Hedwig's Theme," the de facto theme of the Harry Potter franchise. Beginning with a twinkling solo on the celesta, the composition grows in orchestration, offering dark yet magical tones — appropriate given the world it adorns. First appearing in the opening credits of Harry Potter and the Philosopher's Stone, the theme was continuously developed as the wizarding franchise flourished. Whether a Harry Potter fan or not, those opening notes are immediately identifiable and add another feather in Williams's already crowded cap.
Home Alone
"Somewhere in My Memory," John Williams (with lyrics by Leslie Bricusse)
Slightly haunting yet somehow very festive, "Somewhere in My Memory" accents the plight of Kevin McCallister, the cheeky, blonde-haired boy left to fend for himself over the holiday season in a grand Chicago-area mansion. With lyrics from Leslie Bricusse, John Williams's "Somewhere in My Memory" can be found throughout Chris Columbus's Home Alone, highlighting the film's Christmassy atmosphere. Nominated for an Oscar and Grammy, "Somewhere in My Memory" evokes nostalgia and family, even if they forget us on their way to Paris.
Jurassic Park
"Theme from Jurassic Park," John Williams
In an interview with Film Score Monthly, John Williams explained that, in composing the theme for Jurassic Park, he wanted to create a score that would mirror the awe and wonder one would experience seeing a dinosaur in real life. Williams imbues the score with an almost dream-like quality, with the gentle oboe notes leading us into the park containing wonders beyond our time. A perfect score for a perfect movie, Jurassic Park characterizes the beautiful creative partnership between Williams and Steven Spielberg: thrilling, grand, pure bewilderment.
Star Wars
"Star Wars (Main Theme)," John Williams
What would Star Wars be without that initial blast of brass to accompany the film's opening scroll situating us within the world of hyperspace, Death Stars and Star Destroyers? In 1977, it would have snapped audiences to attention, and in 2025, the theme recalls a film and television franchise that has grown well beyond its A New Hope beginnings, enlivening imaginations and engendering potent commentary and discussions. Williams's gentle use of strings and woodwinds to contrast the imposing brass section brings to mind Luke Skywalker's journey from Tatooine to the Empire, and all the hopes and dreams we attach to him and a galaxy far, far away.
Superman
"Superman Theme," John Williams
For all the superhero movies we've seen in the past couple of decades, no one film, character or composer has come close to matching the grandeur of John Williams's "Superman Theme." Assuming an anthemic quality, the majestic, other-worldly nature of the Man of Steel is felt in every pulsating note. "Superman Theme" has been used and adapted in countless DC films, most recently in James Gunn's upcoming Superman, opting for an electric guitar to introduce David Corenswet as the next Supes. No matter how many actors don the blue and red spandex, Williams's theme will remain the connective thread that binds generations to Krypton's favourite son.
Toy Story
"You've Got a Friend in Me," Randy Newman
The original Toy Story trilogy occupies a special place in the hearts of millennials, effectively bridging our childhoods to the beginning of adulthood, and Randy Newman's "You've Got a Friend in Me" was along for the entire ride. The bright, swinging melody conjures carefree summers spent with our innocent flights of fancy, while the lyrics provide a cheerful optimism that assured us life will be okay with our friends by our side. It hit pretty hard in Toy Story 3 when Newman sang out, "And as the years go by / our friendship will never die," just as the montage of Andy's youth playing with Woody, Buzz and the gang cut to black, revealing his friends boxed up and unused. Newman's song, at least in parts, has been a part of the entire Toy Story franchise, and it'd be difficult to find a now-middle aged adult who doesn't associate Newman's unique voice with a simpler time.