The IMF should be thankful this mysterious and fascinating late addition is on their side.
Did Tom Cruise really just do that? This reaction pretty much goes for any action sequence Ethan Hunt charges into. How the hell is he going to get out of this one? Sure enough, he figures it out. The face of Mission: Impossible belongs to Hunt and Cruise, that’s a given. Then there are the beloved members of the Impossible Mission Force: Luther , who has been a loyal ally since the start, and Benji , who may be clumsy but persists in being active in the field.
It seems at first Ilsa Faust is a traditional femme fatale, a devious woman who uses and discards those around her for her own gain. The Mission: Impossible movies aren’t strictly film noir stories, though they tend to use the moody subgenre for influence. The opera sequence is an example of this, dressing Ilsa Faust in a gown and shadows. Her shifty motives do their part to confuse Ethan as to what her end goal is.
Director Christopher McQuarrie explained to Collider how they have evolved in the series: “Women can be in peril. Ilsa is in peril, but I was really afraid to put Ilsa in peril in this movie, because I thought, now I'm gonna hear, ‘Ilsa was really great, then you put her in peril. You made her a damsel in distress.’ Well, yeah, but she gets herself out. And Benji's in distress, and other people--Tom's in distress in the last movie.
Ethan deduces Ilsa’s motives, talking aloud as she nods, her eyes widen, or her head shifts to confirm the answers. She then sadly warns, “I will get to him one way or another. Please don’t make me go through you.” It doesn’t sound like a threat though, there’s too much pain and restraint in how Ferguson delivers the line. The passion between the two would be enough to power their scenes, but it works greater by having Ilsa Faust be Ethan Hunt’s equal, with slight differences.
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