Jay Z (4:25)

Boy, the way Glenn Miller played songs.

Annie Song (4:28)

That made my hip hooray Guys like.

David Bianculli (4:32)

Me, we had it made those were.

Annie Song (4:35)

The days didn't need no welfare state Everybody could his weight G R O.

Terry Gross (4:44)

La Salle ran great those were the.

Annie Song (4:48)

Days and you knew where you were.

David Bianculli (4:53)

We're going to listen back to two different conversations Terry Gross had with Charles Strauss. She first spoke with him in 1994.

Charles Strauss (5:02)

When you wrote this, the songs for Annie and Now for Annie Warbucks, did you have to write in a range that you were confident a kid could sing?

Jay Z (5:12)

Well, that's really an interesting question because yes and no. The yes is a part of my musical background. I know what kids ranges and sopranos and tenors are. The no part is that I wanted to squeeze a little bit more out of them because, you know, the emotional part of the music is when kids sing hi. They scream, you know, I did it in Bye Bye Birdie. And in Bye Bye Birdie they sang notes in the Telephone Hour that they didn't think they could sing. And actually, I had learned a lot of that. I used to work for Frank Lesser. I worked. I was his assistant for two years. And I remember when Frank was testing people for range, he would often have them sing do do do do do do do do do do do do do do do do do do would put it in a key with the pianist that it would be out of their range. They had to go, do do do do do do do do. But they could or could not hit it. Had you said, sing that note legitimately in a song like I don't know if I loved you or something, they would have said they can't reach it. But when they were playing these characters, they could. So I devised. It's not my own invention, but. Or maybe it is, I don't know. These kids would come in and I would just have them sing Happy Birthday. Once they passed the other thing, I would have them sing a song that they didn't have to worry about anything. And so they would, Happy birthday, Happy birthday. See? And very often they found that they could reach notes which on their resumes they couldn't reach at all. And that was the sound I wanted. So I did write for that in particularly in A song like Hard Knock Life. And in Tomorrow, the song Tomorrow Let.

Charles Strauss (7:06)

Me move to the. The first show that you did that was a. A real hit. One of the Broadway classics, and that's Bye Bye Birdie. I had to tell you, I was listening to the album again last night, and I had. I hadn't heard the score in a long time. And I was just shocked to realize that I remembered words to songs when I'd completely forgotten the song existed. Like Normal American Boy. I mean, I hadn't thought about that song in years. And I realized, God, I know all the words to this. And I bet so many people have that reaction when they hear songs from Bye Bye Birdie.

Jay Z (7:38)

Yes, fortunately, they do. It's a very, very much performed show at the time. Lee Adams and Mike Stewart and I wrote it. We wrote it because it was offered us. You might say we would have. We would have written, I guess, almost any show that was offered us. It actually wasn't even in that shape. It was just to be a show about teenagers. But had we realized that it would have that kind of commercial clout that is that high schools and camps and prisons. I don't know. Everybody does it. It's incredible. And it keeps picking up in performances. I think we would have said, oh, let's do that show. But at the time, it was just. It was actually even a little strange. It was a bit of an embarrassment in a funny way to me and to Mike because. Well, to me particularly, because I had. I'd been in serious music all my life. I'd studied classical music. I was embarking on a serious music career, and that this would be the first opportunity that I'd have for a major public hearing. And then that we had this silly name, Bye Bye Birdie. It was not the show that I wanted to write, which taught me something about myself, which is I. I don't know where the hell I am half the time.

Charles Strauss (9:05)

Let me ask you about writing the telephone hour from Bye Bye Birdie. And this is a series of phone conversations that the teenagers are having with each other. And it's not a straightforward song. I mean, you're basically setting a series of conversations to music with little interruptions and phones ringing. So what were some of your considerations when you were writing the music for that?

Jay Z (9:25)

Well, you know, before I just answer that, I have four kids, and it's come back to haunt me because I have four telephone line. And it's still every second everybody's on the phone anyway, beside the point. My considerations were, first of all, that it was. It was rock and of its sort. It is rock music, though, such an innocent sort that, you know, I. I don't like to listen to it and say I'm Mick Jagger or anybody like that, but it was rock. And, and. And I paid attention very strongly to the guitar chords, you know, that all guitarists play on it. You know, a lot of rock music in those days particularly, was very. There were certain patterns. It became patterned, in a way, and I did model it on that. But then I used a lot of. I used a lot of changes of time and a lot of interjections, which is into the. Into the exact rock beat. But I kept the beat going very much. And then I used just. You know, Lee and I sat and kind of carved it out together. Hi. And, you know, the things. Did they really get pinned?

Charles Strauss (10:34)

Well, here's the Telephone Hour from Bye Bye Birdie, music by my guest, Charles Strauss.

Annie Song (10:38)

Hi, Margie. Hi, Alice. What's a story, morning glory? What's the word, Hummingbird? Have you heard about Bugle and Kim did they really get pinned? Did she kiss them and cry? Did he pin the pin on or was he too shy? Well, I heard they got pinned yeah, yeah I was hoping they voice yeah, they met at last hello, Mr. Hanko? This is Harvey Johnson. Can I speak to Penelope? Speak to. About Kim Penelope. I just knew it somehow about the drum I must call her At a Saturday I can't talk to you now go, daddy, go, daddy 18 meltdown it won't let not at all he's too thin she's too tall hello, Mrs. Miller? This is Harvey Johnson. Can I speak to Debra Soon? Are you wrong? Are you stupid? Won't you wanna go get married? Well, I heard they got candy I hope that they. Hello, Mrs. Gar. Finest charity home from school yet.

David Bianculli (12:19)

That's the telephone song from the Broadway musical Bye Bye Birdie with lyrics by Lee Adams and music by Charles Strauss.

Charles Strauss (12:27)

You studied with Nadia Boulanger. Did she give you any advice about pop music versus classical music?

Jay Z (12:33)

Well, oddly enough, she did. She was. This woman was. Was the. Was the great musician of our generation in many ways. And her greatness was that she was a master analyst, not only of music, but a psychoanalyst in her own way. And she used to hear the music of her students and she was able to isolate it. She was able to shine a spotlight on what was you and what was watered down. Stravinsky. And I remember when I worked with her, she asked to hear everything I'd written. And I played her my Sonata and my concerto. And she said, well, what else? What else? What else? And I said, well, that's it. She said, well, no, no. What about, you know, you know, your student pieces? And I played her some of them and then. Anything else? And I said, well, I said there was my. My parents who were never into serious music at all, though they were very proud of me. I used to come home from college and play them all these pieces that sounded like watered down bar talk, really, but it was very serious kind of things. I was really, you know, into it. But I remember writing a piece that I considered my party piece that I could play, that they could show off to my aunt. I wrote this piece and it was really, you know, I look back at it today, kind of saucy or something. It was very light hearted and they loved, everybody liked it. So it became my piece. And I played that for her, which I very rarely. I didn't do that for anybody except, you know, a couple of relatives. And she said, ah. And she said, well, what else? And I said, well, I really. Oh, I said, well, when my brother, he had been in the Navy and when he came home from his first tour of duty or his boot camp, whatever I had written, I laughed because it was a funny moment in my life. And I said, I wrote this little song for him called welcome Home Able Bodied, Siemens Strauss say. And she said, may I hear that? Oh, I said, I said I could. No. She said, please. And so there, this venerable woman, I played this silly song. She said, I see. She said, anything else? And I said, well, I said, I used. This makes me laugh. I said, I used to go out with a girl. I really liked her. Her name was Janet and we lived on the Upper west side of New York. And I wrote this song, but it was a joke called moon over 83rd Street. She said, play this for me. Here I am in Paris, you know, with an intimate of Stravinskys and every American composer that you could think of having studied with this great woman. So I played moon over 83rd street and she said, ah, good, now we go back to this whatever. So we went back to. Towards the end of my thing, she said to me something that nobody had ever said to me. She said that you had. She said, you have a great talent for light music.

Charles Strauss (15:48)

May I make a request?

Jay Z (15:50)

Sure.

Charles Strauss (15:50)

Could you sing one of the songs that you played for her?

Jay Z (15:56)

Wait a second. Welcome Home Abel Bonnie Stevens. You heard that? No, I can't sing that one. Oh, a moon. This is the funniest interview I'VE ever done moon over 83rd street with shafts right below a moon over 83 83rd Street. My heart's all aglow. You, Janet in the lamplight I hear something called, I hear something dull. I'm yours, Body and soul. I think that was the last one. It was meant partly as a jest. I mean, I. You know. But that was it. There's a first performance for you, so.

Charles Strauss (16:44)

But it helped you. It helped you find out that that's what you should be doing is writing pop tunes.

Jay Z (16:49)

That was her genius. That's why I can laugh at it. I can also laugh at it because I've had some successful shows. But her genius was really taking a young kid like me. I was quite young when I was there. I was around 18 or so. And I know from my own experience with my own children what it is to be searching for an identity. And she, in her soft, brilliant way, was able to contribute to my identifying who I was.

Charles Strauss (17:23)

I want to close with the story behind one of your most famous songs. And this is the. This song from Annie Tomorrow. Tell us about writing the song, what you intended when you wrote it. And this song has really taken on a life of its own. This song seems to alternate between major and minor keys. No.

Jay Z (17:41)

Yes, it does. It's. Well, there are a number of feelings I have about the song. The first one always had been and still stays with me. It's the one song in this show of a. Of a personal nature, in the show that could not have been written in the 30s. I could say the same, perhaps for Hard Knock Life, but Hard Knock Life was a bit of dramatic music where I was kind of outside it in a way. But here's a song of a girl during the Depression. And this song is definitely could only been written in the 70s. The harmonies and the kind of melodic. So I thought, if nothing else, I mean, I didn't think the show was going to be successful, but I certainly felt as though critics were going to say, now, wait a second, how could. How could they write this? Everything else was, we'd like to thank you, Herbert Hoover and I don't need anything but you. They were kind of pastiches, using Harry Warren and Cole Porter and those kind of Gershwin composers as my. As the filter, so to speak. But that song, no. And it was just out of another era completely. So that was my first thing about it. The second thing about it was that nobody could sing it because it was. It was so rangy. And the third thing about it, which is it's Just curious. I've worked with a number of collaborators, though I've worked mostly with Lee Adams, but, you know, I just. I've done a show with Sammy Khan, with Alan J. Lerner, with Richard Malpy. I mean, there's just been a lot of them, Stephen Schwartz. In my life, though not. Not those particularly, but all the collaborators along the way. I had the song and I played it for many of them, and they all said, yeah, no, okay, what else do you have? And Martin and I were looking for a song of hope at that moment, and I played him. Actually, it wasn't a whole song. I had written it for a movie, this theme for an industrial film that I did, and I always liked the theme. And Martin picked up on it, and I had no idea. I certainly didn't think it was going to be a big success. I did think that it got an awfully big hand in the theater when Andrea sang it, but I thought it was the set. Martin had made a nice move with the set that had changed. She went behind, and then she wasn't there. So I always thought, gee, they're applauding that set.

Charles Strauss (20:06)

So this is a trunk song that every lyricist you work with rejected. And it finally, at that point, every lyricist.

Jay Z (20:12)

Yeah.

Charles Strauss (20:12)

Right. Well, let's hear it. And let me say it's been a pleasure to talk with you. Thank you very much for joining us.

Jay Z (20:17)

Oh, thank you, Terry. For me, it's great.

Annie Song (20:20)

The sun will come out tomorrow Bet your bottom dollar that tomorrow there'll be sun Just thinking about tomorrow Clears away the cobwebs and the sorrow Till there's none When I'm stuck with a day that's grey and lonely I just stick up my chin and. And grin and say oh, the sun will come out tomorrow so you gotta hang on till tomorrow Come what may Tomorrow, tomorrow I love ya, tomorrow. You're always a day away.

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David Bianculli (23:04)

Today we're remembering composer Charles Strauss, who died last week at the age of 96. He wrote the music and won Tony Awards for the Broadway hits Bye Bye Birdie, Annie and Applause. One of his lesser known works is the 1964 musical Golden Boy. It was based on the 1937 play of the same name by Clifford Odets, who also wrote the musical adaptation. The 1964 musical starred Sammy Davis Jr. As a man who breaks out of Harlem by becoming a prize fighter. Terry Gross spoke to Charles Strauss again in 2002, when Golden Boy was being revived as part of the City Center Encore series Great American Musicals in Concert. They began with one of the songs from the show called Night Song. The singer is Sammy Davis Jr. And the lyricist is Lee Adams, who previously had collaborated with Strauss on the 1960 musical Bye Bye Birdie.

Charles Strauss (24:17)

Summer not a bit of breeze Neon signs are shining through the tire trees Lovers walking to and fro Everyone has someone and a place to go Listen, hear the cars go past they don't even see me flying by so fast they are moving, going who knows where. Only thing I know is I'm not going there where do you go when you feel that your brain is on fire? Where do you go when you die? I don't even know what it is you desire. Listen.

Charles Strauss (25:40)

Charles Strauss, welcome back to FRESH air. Is there a story behind writing Nightsong?

Terry Gross (25:45)

A very intimate story, and that is I remember lying on the grass in the park, looking up at the skyline in New York, saying, I wish I could be there and I wish I had some friends Wish it could be where? Oh, way up on top oh.

Charles Strauss (26:04)

So you were yearning while writing this song about yearning?

Terry Gross (26:06)

I was yearning and I was remembering that period of my life very strongly.

Charles Strauss (26:11)

How were you first brought in to do the music for Golden Boy?

Terry Gross (26:15)

Well, it's really because of the producer, a man by the name of Hillard Elkins, who is a real. Who was a real operator. And he somehow got Sammy Davis to agree to do it if Clifford Odets did it. And then he called Clifford and said, would you do it as a musical if Sammy Davis did it? And then he called us and said, would you do it if Clifford Odets and Sammy Davis did it? And we all said, gee, that would be great if, if, if. And he was able to, in the manner of agents and producers, convince everybody that it was going to happen. And it did happen. Sammy also was very, very interested in becoming a serious actor and had the build and the drawing power for this role. It's always been a great star vehicle. Sammy agreed to do it. He. Because he was such a highly paid star, he did something which is very unusual. I don't know whether I would have accepted it today, but that is, he maintained legal approvals of every word and every note of music.

Charles Strauss (27:26)

Let's play a song from the original cast production with Sammy Davis singing. This is a song called I Want To Be with youh. Sammy Davis, Jr. As the boxer, falls in love with a white woman in the 1964 version of Golden Boy. I'd like you to describe the context that the song is performed in the musical.

Terry Gross (27:48)

This particular scene where they sang I Want to be with you caused us to receive a lot of venomous mail, particularly in Philadelphia, where we opened. As a matter of fact, after the show opened, we, Lee Adams and I had to have bodyguards actually walk us to the hotel. We didn't think it was anything much. We just thought it was two people. I mean, we were aware one was black and one was white, but we didn't think it would arouse people.

Jay Z (28:17)

So.

Terry Gross (28:19)

And this song for me and Lee was a particularly interesting one because I have a serious music background, and yet I played in jazz groups, and jazz is part of my nature. I tried very hard in this to combine any depth that I might have as a composer with a feeling for jazz. And I felt in a certain way that I had succeeded. I'm very proud of this song, but it was also because it was not only a passionate moment in the play, but I was aware that it was a passionate moment where the lovers themselves, ala Romeo and Juliet, were really leaping over a great hurdle. They weren't aware of it, or they were. I mean, nobody talks about that kind of thing in one way, but they leaped this hurdle. And so the song was a very important one for me where they were both finally able to express their passion as two people for each other.

Charles Strauss (29:25)

Well, let's hear the first part of this song. And this is Sammy Davis, Jr. From the original cast recording of Golden Boy.

Charles Strauss (29:36)

Lorna, Lorna and Jo Somehow it sounds so right Somehow you feel what I feel too I wanna be with you I wanna be with you I wanna be with you after all the nights of wanting you Lying there loving you, hating you Tonight I'm touching you, holding you World you're gonna see we'll make out somehow here's my girl and me they can't hurt us now we're gonna have it all. I love you every day. Lorna Life can be so great for us. Here's our chant. It's not too late for us Grab it fast or life won't wait for us. I wanna be with you.

Charles Strauss (31:38)

Sammy Davis, Jr. From the original cast recording of Golden Boy, with music composed by my guest Charles Strauss, lyrics by Lee Adams. Did you get a sense of what it was like for Sammy Davis to be the subject of controversy in real life because he was married to my Brit, a white woman, and to at the same time be the subject of controversy because he was portraying on stage a black man in love with a white woman? You know, because it was going on in both his stage life and his real life?

Terry Gross (32:09)

Sure, I did have a real sense, particularly towards the end of our the run after no, it was before he went to London with the show. We both marched in Selma, and I think we were both drunk and we kind of got to know one another. I learned a lot about Sammy and his time in the US army where he was he was pummeled and other soldiers urinated on him. He had in him a great, great deal of suffering. And he turned whatever hurt or anger into a desire, an intense desire to be loved by everybody. And yet part of him also wanted to be in that white world. It was a very complex he was a most complex man.

David Bianculli (33:07)

Composer Charles Strauss speaking to Terry Gross in 2002. He died last week at the age of 96. More after a break. This is FRESH AIR.

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Charles Strauss (34:14)

I'd like to hear what it was like when you had to follow Sammy Davis Jr. Around Vegas playing him demos of your new song so he could give them his approval.

Terry Gross (34:25)

Well, we played the songs and invariably Sammy was late. Lee Adams in particular was not a late owl. And he would say, I'll meet you after the show at 1 in the morning. And we would be lucky sometimes if he got there at 2:30. And then we would play the songs in front of the chorus girls. He was constantly partying, Sammy, and we would play these songs in that atmosphere all the time. And I must tell you, at that point in our lives we were very timid, particularly me, and I was the one that was playing it and singing them. So we did that. He would go out and play eight, nine holes of golf or something and then we would meet him in the steam room to discuss a scene. And the first time I met Frank Sinatra and Dean Martin and that whole bunch, I think Joey Bishop was there too. We were all naked, which is an odd thing to add to my composer's resume, but there were all kinds of odd incidents like that.

Charles Strauss (35:43)

So when you first met Frank Sinatra and Dean Martin and all those guys naked in a steam room, were you also demo your songs for Sammy Davis?

Terry Gross (35:53)

No, no, that was, that was a this would be a part of Sammy that's typical of him and probably partially meaningless to anybody else. He brought me down there, he said he wanted to see me for a conference. And I remember one of the things, you know, we all introduced ourselves around, believe me, I was not as proud of my physique as they of theirs. And so I was. And he said, this is my composer, Charles Strauss. Oh, hi Charlie. You know, da da da da da. And it was basically, in my opinion, looking back, that he wanted to show them that he had a composer, a Broadway composer who had written Bye Bye Birdie, that was his composer. And I remember asking him later, why do you. I don't say this is my actor Sammy. Why do you say this is my composer? That was one of the times that he didn't argue the point with me, but I think he saw that the emptiness of having me down there. Although, by the way, it's always made an amusing story and a true one, but it was basically a kind of his day in the sauna with the guys and, you know, I was the drop in guest.

David Bianculli (37:13)

Charles Strauss speaking to Terry Gross in 2002. We couldn't end this tribute without considering the impact of perhaps his most enduring musical. In 2010, Terry spoke with the rapper Jay Z about how one of the songs from Annie inspired his own distinctly different interpretation.

Charles Strauss (37:33)

Let's talk about another one of your tracks. I want to play Hard Knock Life, which really surprised me when I first heard it because you sample the song Hard Knock Life from the Broadway show Annie, which I thought was a real surprise. Surprising choice to say the least. For you. Yes, to say the least. So how did you decide to use that?

I (37:52)

Well, what happened was my sister's name is Andrea Carter and we call her Annie for short. So when the TV version of the play, you know, came on and it was like this story called Annie, I was immediately drawn to it. Of course it was my sister's name. Like, what is this about? So I watched it and I was immediately drawn to that story. And those words. Instead of treated, we get tricked. Instead of kisses, we get kicked. It immediately resonated with me. So fast forward, I'm on the Puff Daddy tour and I'm about to leave stage and a DJ by the name of Kid Capri plays this track. No rap on it, just instrumental. You know, it stopped me in my tracks. It immediately brought me back to my childhood and that feeling. And I knew right then and there that I had to make that record and that, you know, people will relate to the struggle in it and the aspiration in it as well.

Charles Strauss (38:56)

So let's hear the song and then we'll talk a little more about it. So this is Hard Knock Life, Ghetto Anthem by Jay Z.

I (39:05)

Take the bass line out. Uh huh. From standing on the corners bopping to driving some of the hottest cars New York has ever seen. For dropping some of the hottest verses rappers ever heard. From the dope spot with the smoke block thinking the murder scene. You know me well for nightmares of a lonely cell my only hell but since when y' all n Know me to fail nah we are my n With the rubber grips or shots and if you with me Mama Rubble your and whatnot I'm from the school of the hard knocks we must not let outsiders violate our blocks. And my block the stick up the world and split it 5050 uh huh is take the dough and stay real jiggy uh huh Sip the Chris and get pissy pissy flow Infinitely like the memory of my n Biggie Baby, you know it's hell when I come through. The Life and times of Sean Cardenick, Volume 2.

Charles Strauss (40:17)

It's a hard Knock Life that's Hard Knock Life Ghetto Anthem by my guest, Jay Z. So you tell a great story in the book about how you got the rights to use that song, to use the song from Annie, Hard Knock Life. Would you tell the story?

I (40:33)

Yeah, well, I mean, we got the rights already, so it's a bit late, so. Because I exaggerated a touch, you know, in typical. When you have to clear a song, you have to send it a sampled song. You send it to the original writers and they give grant you permission, and you pay a fee for that permission. You know, with some writers, their art is for them, very important. So it has to be the right sort of attitude and the right take and the emotion on the record has to fit, you know, what was originally intended. So we were having difficulties clearing the sample. And I wrote a letter about how much it meant to me, you know, what it meant to me growing up, and how I went to, like, a Broadway play, which was an exaggeration. I saw it on TV and, you know, we got the rights.

David Bianculli (41:28)

Jay Z speaking with Terry Gross in 2010 about his hard Knock Life Ghetto Anthem. When Terry talked to Charles Strauss back in 2002, she asked him about that version.

Charles Strauss (41:40)

How did you find out that Hard Knock Life was going to be sampled for a rap record?

Terry Gross (41:46)

I found it out just through hearing it at my publisher. But I'll tell you something. He said something. I never met Jay Z, or as Andrew Lloyd Webber said in a phone call to me, he said, JZ recorded a song of yours. I thought that was wonderful. And I dropped in Andrew's name too. He said something in the liner notes that it was gritty. He said it was gritty. And he felt that that was the way black people felt in the ghetto. And the fact is, when we were working on Annie, it was the first song that I had written the music for Martin, and I had never gotten. Martin Charnan and I had never gotten together. That was. We were all friends but that was the first song we wrote, and I wanted that song to be gritty. I didn't want it to be a fake. I wanted it to show these desperate times and these maltreated girls, et cetera, et cetera. So when he picked up on that, I was very proud of myself for that reason alone.

David Bianculli (42:47)

Charles Strauss, speaking to Terry Gross in 2002, the composer of the music for Bye Bye Birdie, Applause and Annie died last week. He was 96 years old. Coming up, critic AT large John Powers reviews Mission Impossible the Final Reckoning. This is FRESH air.

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Jay Z (43:59)

On NPR's Through Line.

Terry Gross (44:01)

Witnesses were ending up dead.

Charles Strauss (44:04)

How the hunt for gangster Al CapOne.

J (44:06)

Launched the IRS to power.

Jay Z (44:09)

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David Bianculli (44:17)

Mission Impossible, the Final Reckoning is the eighth and reportedly final installment in the action adventure series starring Tom Cruise, who plays the head of a secret government team that does what the CIA cannot do. In this latest installment, the crew must try to stop rogue AI from wiping out humanity. Our critic at large, John Powers, has seen all seven of the preceding Mission Impossible pictures, plus the TV series that preceded it. He says this latest effort is a crazily entertaining monument to its star.

J (44:52)

Pop culture has long had a tendency toward bloat. The catchy Two Minute Singles of the 1950s gave way to the laborious concept albums of the 60s. The slim, mind blowing novels of Philip K. Dick and J.G. ballard led to the doorstops of Stephen King and Neil Stevenson. And then there's Mission Impossible, which began in 1966 as a tautly unpretentious hour long TV series with a fantastic theme by Lalo Schiffrin. In 1996, it became a 110 minute movie with a megastar actor, Tom Cruise, and an auteur director Brian De Palma, who larded its silly story with big gaudy action scenes. Now seven sequels and three decades later we have Mission Impossible the final reckoning, the 2 hour and 49 minute conclusion to the nearly as long Dead Reckoning Part 1 pictures so grandiose they require a colon and an em dash just to write their titles. Predictably, this new movie is overblown, inanely plotted, clotted with expository dialogue and boundlessly self congratulatory. But you know it's also fun to watch. Flaunting its big budget, we zoot from tourist London to Norwegian snowscapes to sun blasted South Africa, this souped up thriller offers the irresponsible escape that most of us want from Hollywood blockbusters. As the action begins, the world is being threatened by the Entity, a nasty piece of AI that's going to annihilate humanity in four days time. Naturally, our hero Ethan Hunt, that's Cruise, wants to stop both the Entity and the velvety villain Gabriel, played by Isai Morales, who seeks to control it. Ethan enlists his Impossible Mission team. There's tech wiz Luther, that's Ving Rhames, Simon Pegg's jokey field agent Benji, and the recent addition Grace, a one time thief played by Hayley Atwell, who joins the stream of talented B list actresses that Cruise seems comfortable with. The story is mainly racing around toward a gizmo hidden in a submarine away from the CIA, which foolishly wants to stop Ethan. Still, there's plenty of time for bombastic dialogue here. The righteous Luther reassures Ethan that he's doing good work.

Annie Song (47:27)

Our lives are the sum of our choices. This is recalling your destiny.

Jay Z (47:36)

I have no regrets.

J (47:41)

Not that Ethan needs reassuring reporting directly to President Angela Bassett. He's confident as ever.

Terry Gross (47:49)

I need you to trust me one.

J (47:52)

Last time, because this is purportedly the last installment. Unless it makes a fortune, of course. The final Reckoning works hard to make the whole series cohere and give it emotional heft. We see flashbacks to stunts from earlier movies, Cruise looks so young, and callbacks to deaths of characters who've been lost along the way. Yet because Mission Impossible storylines have always been unabashedly harebrained, such stabs at depth ring hollow. This isn't like the second season of Andor, in which we feel the weight of characters dying because they're sacrificing themselves for a cause. Nor does the Mission Impossible series possess any perceptible cultural resonance. James Bond was an icon of both the British Empire and a certain dated brand of masculinity. He helped shape our culture. Not so Ethan. Although Bond had no real inner life, sorry, Daniel Craig, compared to Ethan, he's positively Dostoevskian. We at least knew 007's snobberies, cruelties and pleasures. Gambling in Monaco, drinking martinis shaken not stirred, sleeping with women, then killing them. What Cruise, and therefore Ethan, lives for is eye popping stunts. And it's been so since the first Mission Impossible had him clinging to the outside of a high speed train roaring through the Chunnel from England to France. The Final Reckoning boasts two gigantic action sequences, an underwater bit that could have been spectacular were Christopher McQuarrie a better director, and a genuinely bravura climax that finds Cruise holding onto the wing of a biplane as it buzzes through and above the Blyde river canyon in South Africa. It's this scene that everyone will remember and of course they'll talk about Cruise doing this stunt himself. Cruise has been on top for over 40 years, as long as John Wayne, longer than Cary Grant. He's not a great actor, but he is a terrific movie star. Though starting to look his age at 62, he still possesses the boyish energy and commitment of his younger self. Whether sprinting past Big Ben, diving into icy waters without a wetsuit, or simply letting the movie idolize him, Cruise is playing hero ball. And you know what? He's really good at it.

David Bianculli (50:23)

John Powers reviewed Mission Impossible the Final Reckoning. On Monday's show, we feature our interview about the life and legacy of Sly Stone. Questlove talks about his documentary Sly Lives, AKA the Burden of Black Genius on Hulu. Questlove won the Oscar for another of his music documentaries, Summer of Soul. Hope you can join us. Fresh Air's executive producer is Danny Miller. For Terry Gross and Tanya Mosley, I'm David Dean Cooley.

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