Die Hard; everyone knows it. You probably make it an annual tradition to watch this within the comfort of your tinsel-stricken living room every Christmas, and for good reason. People often herald this as one of the greatest holiday movies out there, and for many years, I believed the same. I have, however, since changed my holly-jolly tune to something more befitting of a ‘Die Hard’ humbug. While I, no doubt, can see the aforementioned festivities, it becomes more and more apparent over the years that these Christmas elements are merely a visual accompaniment to the film and not the focus. I have adored Die Hard for many years, but I do not look upon it with the same Christmas-y lenses that everyone else does. All this considered, I wanted to focus on what makes Die Hard the definitive action piece. My aim for this review altered after having watched the film in preparation. I could see so much more than a simple ‘popcorn flick’, it was something that takes it’s cliches and traditions indicative of the genre and revels in every small morsel that contributes to this intense celebration of all things ‘action.’ You know this film is great, but I’m here to tell you exactly what makes Die Hard one of, if not, the greatest action movies ever made. This is John McTiernan’s Die Hard.
The story focuses on John McClane (Bruce Willis), a cop from New York that has traveled to LA in the hopes of reconnecting with his soon to be ex-wife, Holly (Bonnie Bedelia). They meet in the Nakatomi building where she works, but she couldn’t be less interested in trying to rekindle the flame due to John’s dedication to his work. Holly attends a business party while John is left befuddled within his hotel room. Things begin to go awry when a group of terrorists storm the building. Led by a threatening man named Hans Gruber (Alan Rickman) who’s intentions are not very clear. Hans and his crew kidnap the owner of the building and murder him for his lack of co-operation. John, who has slowly caught onto everything that has happened, has bared witness to the murder and decides he’s going to have to take down these villains from the shadows. Hans eventually catches on to John’s presence and begins a cat-and-mouse chase as he unknowingly sends his goons to their deaths. John eventually steals the radio of one of the goons and uses it to communicate with Hans, but also attracts the attention of a nearby cop, Sgt. Powell (Reginald VelJohnson.) The clock is ticking as John and Powell must find a way to rescue all the remaining members of the party while also bringing an end to Hans and his men.
John McClane is atypical of the standard action hero, but what sets him apart is Willis’s wit and realism. The film, not so subtly, alludes to action stars of the past to give the audience a small insight into the inspiration. John invokes the feeling of a John Wayne archetype; the dashing, yet gruff, cowboy type that comes to save the day. That being said, the movie doesn’t shy away from displaying a little weakness. John is shown to be terrified at many instances, worried for the safety of everyone, most importantly his wife. He’s shown to be powerless on his own, needing the help of others. While, sure, John is also portrayed as an all-powerful machine, at times, there’s an astute levity that comes from the others around him. McClane may be seen as an ideal for the male audience, and the director uses this as an opportunity to promote a message of co-dependence, that men can rely on others to “get the job done.” All of this contributes to the greater point that John must realize; his wife is just as a much a part of his job as he is. John is also unknowingly softening up to the fact that he needs co-dependence due to Powell’s inclusion. Powell is given much more mystery to him that shocks the audience into seeing him as more than that comic relief character that just wants to buy his wife some Twinkies. The two find solace in the fact that they are both cops that care dearly for their wives, and the later revelation gives John some perspective.
Hans Gruber is possibly one of the greatest action movie villains of all time. There is a brilliant simplicity to the actions of a madman whose goals are not initially clear. A truly ostentatious figure, Hans has much more than a simple maniacal streak. As evil and uncaring as he comes across, he also has a sharp wit. Hans will take numerous jabs as the protagonist as well as the other party guests. Wonderfully playful in personality, Hans adds a level of uneasiness to the tone. The film is incredibly crafty in how it shows the mental degradation of our maniacal villain. Hans always seems to remain viciously composed all throughout, but a keen eye will notice his gradual slip into exhaustion. Hans becomes more and more murderous as time goes on, unbeknownst to McClane, it is this very person who is pushing him to the brink. Rickman delivers such a sharp performance that it beautifully compliments Willis, providing a contrast that shines in their first confrontation.
The movie follows many of the traditions that are stapled to the blockbuster/ action genre, but it uses these cliches with such finesse that it’s impossible to not appreciate the dedication. I often ponder what film best summarizes the tropes of each genre, and Die Hard is very clearly the poster child of action. It’s use of a single location heightens the severity of the tension surrounding the main character, the way he uses the structure of the building as a battlefield for the unsuspecting criminals is genuinely engaging. The action is intense and cathartic, often pushing the limits of what makes an action film so entertaining to begin with. It can take it’s time to build up suspense, just so that the payoff can deliver with an amazing amount of gusto. Heavily punctuating all this high-octane action is the wonderful soundtrack, invoking the feeling of fear rather than the explosive setting. All of this is highly complimented by the subtle tongue-in-cheek humor, telling the audience that there is no reason to look any further than what is presented. Normally, I would see that as a detriment to a film, but Die Hard is so genius in its execution that it manages to account for those like me that do enjoy deconstructing each film. Simple, yet brilliant.
Throughout the years, Die Hard has been heavily debated as to whether it is a Christmas movie or not. I feel that most people have come to the agreement that it is, and I once felt the same way, but I have since changed my tone on the matter over this year. While, yes, the film does have many examples of iconic Christmas imagery, it is never the real focus of the film. John is there to reconnect with his family, he isn’t interested in having festivities with them, he is using the holiday as a ploy to soften up his wife. While Christmas does kick off the plans of the villain, it is not the reason they are taking over the Nakatomi building, they simply need a good way to gather a group of people together for a hostage situation. Neither of these plot points are centered on the holiday, rather, the holiday is used as a plot device. From this point on, Christmas is merely a background element. John does play around with the holiday for a few festive laughs, but it serves no more a purpose than Powell’s love for Twinkies. While I understand that most people will look towards the Christmas elements and immediately herald it as one of the most unconventional Christmas movies ever, I feel that Christmas has to play an active part in the story to actual classify it as one. At the end of the day, while I don’t personally see it as one, it can come down purely to preference.
Regardless of the disagreements I may have towards it’s status as a Christmas movie, I still greatly adore this film. Die Hard is etched into the minds of millions, and that’s for good reason. I can often act a little cynical towards the conventional blockbuster film, but I do have a good sense of what makes a movie analytical and simply fun. Die Hard is a film I still pop in from time to time if I need something mindlessly fun. Devoid of the divisive sequels, this film stands on its own as possibly the greatest action film ever made. The cast, the cinematography, the setting and even the music are shining examples of just how much fun you can have with a concept as simple as this. And the fact that we are still debating the place of this movie ever December shows just how firmly chiseled into mainstream appeal this film has become. I would encourage you all to see this one, but of course you’ve seen it, hell, you’ve probably watched this on the Christmas just passed. Regardless, check it out.
Side note: I’m a little late on the Christmas review, but that doesn’t matter cause it’s not a Christmas movie. Ha!
Written review by C. Johnson.