Lalo Schifrin, Acclaimed Composer of ‘Mission: Impossible’ and ‘Mannix’ Themes, Dies at 93

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Renowned composer, pianist, and conductor Lalo Schifrin, who earned six Oscar nominations for his energetic, jazz-influenced work on shows like “Mission: Impossible,” “Mannix,” “Starsky & Hutch,” and “Bullitt,” passed away on Thursday. His son Will Schifrin confirmed the news to The Hollywood Reporter, reporting that he was 93 years old.

Living in a house once belonging to Groucho Marx for many years, Schifrin was honored with an honorary Oscar at the Governors Awards back in November 2018.

Schifrin, who had lived in a home previously owned by Groucho Marx for decades, was bestowed with an honorary Oscar during the Governors Awards in November 2018.

Born in Argentina, Schifrin is a musician who grew up with a strong foundation in classical music due to his father’s role as the concert master of the Buenos Aires Philharmonic for over three decades. However, it wasn’t until his teenage years that he developed a passion for American jazz.

I seamlessly melded two distinct gaming styles, and my creations pulsed with an explosive intensity that was perfect for fast-paced action-thriller games and cinematics.

Lennie Schifrin, known for his workaholic nature, was nominated for Oscars for his music scores in films like ‘Cool Hand Luke’ (1967), ‘The Fox’ (1968), ‘Voyage of the Damned’ (1976), ‘The Amityville Horror’ (1979) and ‘The Sting II’ (1983). Additionally, he was recognized for the song “People Alone” from ‘The Competition’ (1980).

He played in the movies “Dirty Harry” (1971) along with its sequels “Magnum Force” (1973), “The Enforcer” (1976), “Sudden Impact” (1983), and “The Dead Pool” (1988), which all featured Clint Eastwood. The director later awarded him an Oscar for his performance, and he also composed the music for all three of the “Rush Hour” films.

In 1965, Schifrin orchestrated Ray Charles to perform alongside a symphony orchestra for the movie “The Cincinnati Kid”, and he also created the iconic saxophone-rich soundtrack for Steve McQueen’s “Bullitt” (1968).

His work history also encompassed projects such as Coogan’s Bluff (1968), which marked his start with Eastwood and director Don Siegel, followed by Kelly’s Heroes (1970), Charley Varrick (1973), The Eagle Has Landed (1976), Telefon (1977), The Nude Bomb (1980), Black Moon Rising (1986), Money Talks (1997), Something to Believe In (1998), Tango (1998), Bringing Down the House (2003) and The Bridge of San Luis Rey (2004).

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Apart from his other work, he has been involved in films like Coogan’s Bluff (1968), Kelly’s Heroes (1970), Charley Varrick (1973), The Eagle Has Landed (1976), Telefon (1977), The Nude Bomb (1980), Black Moon Rising (1986), Money Talks (1997), Something to Believe In (1998), Tango (1998), Bringing Down the House (2003) and The Bridge of San Luis Rey (2004). These projects also include his long-standing collaboration with Eastwood and director Don Siegel.

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In addition to his various roles, he has worked on films such as Coogan’s Bluff (1968), Kelly’s Heroes (1970), Charley Varrick (1973), The Eagle Has Landed (1976), Telefon (1977), The Nude Bomb (1980), Black Moon Rising (1986), Money Talks (1997), Something to Believe In (1998), Tango (1998), Bringing Down the House (2003) and The Bridge of San Luis Rey (2004). These films also represent his significant collaborations with Eastwood and director Don Siegel, which spanned over many years.

The distinctive, pulsating “Mission: Impossible” theme tune, composed for the renowned CBS spy series that debuted in September 1966 using an uncommon 5/4 time signature, earned Schifrin one of his four Grammy Awards and one of his four Emmy nominations. It remains a significant connection to the Tom Cruise movie franchise.

Schifrin mentioned that he managed to assemble the main melody within merely three minutes, all without watching any clips from the series while composing.

He said to the New York Post in 2015, ‘Composition isn’t an issue for me. It’s similar to writing a letter. When you write a letter, you don’t ponder over grammar or syntax, you just write. And that’s how it flowed.’

Bruce Geller, the series producer, tasked me with creating something thrilling, something so distinctive that people would instantly recognize it, even if they were in the kitchen getting a drink while watching TV. He wanted it to be identifiable, memorable, and a unique signature piece. That’s exactly what I accomplished.

As I dive into the thrilling world of Mission: Impossible, a flicker of flame ignites a fuse, its fiery dance intertwining with swiftly edited clips from each episode. The music, masterfully crafted by Schifrin, echoes through various episodes, and the M:I album became an undeniable success in our gaming community.

Back in the day, I used to pump iron to the rhythm of Lalo Schifrin’s tunes at my gym in bustling Hong Kong, little did I know that this collaboration would lead to something extraordinary. Fast forward to 1973, and I, Bruce Lee, had the honor of recruiting Lalo as the composer and orchestrator for my groundbreaking film, Enter the Dragon. As a token of appreciation, I took it upon myself to teach this budding musician the fundamentals of martial arts, offering him lessons free of charge.

Schifrin created a jazz waltz in three-quarter time as the theme for the Mike Connors series, Mannix (which was also produced by Geller). Furthermore, he performed the Moog synthesizer on the opening music for another CBS drama from the 1960s, Medical Center.

Apart from that, Schifrin also developed the melodies for shows like “T.H.E. Cat”, “Petrocelli”, “Starsky & Hutch”, “Bronk” and “Most Wanted”. Interestingly, his “Tar Sequence” music from “Cool Hand Luke” was picked up by ABC affiliates to be used in their broadcasts of “Eyewitness News”.

Born as Boris Claudio Schifrin on June 21, 1932, he started playing the piano at just five years old. When he was around sixteen, his peers introduced him to jazz records, and he found himself deeply engrossed in this music, stating it was a profound moment in his life during a 2008 interview for the Archive of American Television. “It felt like an enlightenment,” he reminisced. “I became fully immersed in jazz.” Yet, jazz was perceived as ‘immoral’ at that time, and he had to secretly listen to it.

For four years, he pursued studies in both music and law at the University of Buenos Aires, his hometown institution. In 1952, he was awarded a scholarship to the prestigious Paris Conservatory of Music, where he delved deeper into classical music under the tutelage of renowned composer Olivier Messiaen.

In 2004, he confided to The Telegraph that he led a dual existence. By day, he was engrossed in studies at the Conservatory, while nights found him performing with jazz bands, such as the Club Saint-Germain. Despite his disapproval of jazz, Messiaen remained an amiable individual and a devout Catholic mystic.

In the year 1956, Schifrin moved back to Buenos Aires, established his own jazz band and started composing music for television and radio broadcasts. The following year, he was awarded Argentina’s equivalent of an Oscar for his score in the movie “El Jefe“.

At the U.S. Embassy, where Dizzy Gillespie and his renowned band (with Quincy Jones on first trumpet and Phil Woods on alto sax) were performing for a concert, Schifrin led his own group from the piano during an event celebrating the esteemed jazz icon.

The horn player walked up to Schifrin and inquired, “Are you responsible for composing all these scores, all these adaptations?” He remembered replying affirmatively. “Would you like to visit America?” he assumed it was a jest at the time.

1958 saw Schifrin’s arrival in the bustling city of New York, where he honed his skills as a pianist at a popular Mexican eatery. Eventually, his talent caught the eye of Xavier Cugat, who invited him to compose arrangements for his stage performances and embark on tour with his orchestra.

In 1960, he ultimately established contact again and entered into a contract with Gillespie. During this period, he featured on a successful album titled “Gillespiana” for Verve Records, which was later acquired by MGM. Additionally, he designed jazz LPs for notable figures such as Stan Getz and Sarah Vaughan.

Drawing inspiration from film scores created by composers like Henry Mancini and Johnny Mandel, Schifrin utilized his contacts at MGM and journeyed to California in 1963.

His debut role in Hollywood was for the movie ‘Rhino!’ (1964), which was set in Africa. He also worked on various projects with Stanley Wilson at Universal Pictures, one of these being the 1966 NBC television film ‘The Doomsday Flight’, a story about a bomb on an airplane, penned by Rod Serling.

Schifrin also composed music for David Wolper’s documentaries, such as “The Making of a President: 1964” (1966), which earned him an Emmy nomination; “The World of Jacques Cousteau” (1966); and “The Rise and Fall of the Third Reich” (1968).

Or, in a more conversational tone:

Schifrin was responsible for scoring some great documentaries by David Wolper. For instance, he did “The Making of a President: 1964” (1966), which got him an Emmy nomination, as well as “The World of Jacques Cousteau” (1966) and “The Rise and Fall of the Third Reich” (1968).

Over the course of his professional life, Schifrin has led some of the globe’s finest orchestras, which include ensembles from cities like London, Vienna, Los Angeles, Israel, Mexico City, Houston, Atlanta, and Buenos Aires.

In 1987, he assumed the role of the musical director for an orchestra established specifically for film scoring, known as the Paris Philharmonic Orchestra, and served in this position for a span of five years. Subsequently, Schifrin led a symphonic tribute in Marseilles, France, in 1995, commemorating the centennial anniversary of movie invention by the Lumiere brothers.

In 1993, he skillfully combined his extensive experience in both jazz and classical music genres by taking on the role of pianist and conductor for one of his multiple “Jazz Fuses with Symphony” albums.

As a devoted admirer, I proudly share that back in 1988, the esteemed Lalo Schifrin took home the BMI Lifetime Achievement Award, a testament to his extraordinary career. Over the years, he’s recorded numerous albums, many of which bear the Adelph Records label, a label run by his remarkable wife, Donna. Furthermore, it was me who had the privilege of being the principal arranger for The Three Tenors’ World Cup concerts – an experience that remains unparalleled in my musical journey.

Besides his wife and son Will, the TV writer known for ‘The Fairly OddParents’, there are also other survivors such as his son Ryan Schifrin, a writer-director of ‘Abominable’, his daughter Frances, and four grandchildren.

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2025-06-27 00:25