1. Action movie Revival and Revolution. It’s not hyperbole to say this movie changed action movies forever. The 80s saw giant musclebound invincible mega stars indiscriminately killing off nameless bad guys in one ridiculous plot after another. And then, after this came out, we saw endless variations of the Die Hard format. “Die Hard on a ____” was an entire genre. A flawed, underdog hero overcomes insurmountable odds to defeat a brilliant villain in an isolated environment. Die Hard on a ship. Die Hard on a bus. Die Hard on a mountain. They’re still using the formula. In 2011, The Raid: Redemption literally did Die Hard in a high rise building. If you’ll notice, that’s just Die Hard! But it was in Indonesia, and it was awesome, too!
Ironically, after Die Hard 2: Die Harder (great name) the Die Hard series moved away from its own formula. Die Hard With a Vengeance (3) is really good, and it brings back a Gruber, but the isolated environment…is New York City. Not really the same. We don’t talk about 4 and 5.
Many of the Die Hard imitators were good (Under Siege, Speed, Cliffhanger…all great!) because the format was so brilliant, but nothing really reached the level of the originator. Its greatness didn’t stop at the plot, it had all of the other factors that make a classic, too.
The action starts 10 minutes in and never lets up, and that’s a big reason it’s so much fun. But the character development is what differentiates this from the imitators, and in those first ten minutes, every moment and every line works to set up the rest of the movie perfectly, so that all of the action becomes meaningful and resonates on a human level. There’s no personal connection to Schwarzenegger in Commando or Predator, he’s barely human! Rocky started as an average guy, but by the 4th one, he was a cartoon superhero. But John McClane is an everyman, an ordinary, hard working American, and every character in the film feels real. The scene where McClane and Takagi walk in on Ellis doing coke and then Holly comes in (“show him the watch!”) tells us so much about all those characters and the situation, and even foreshadows the finale (“I’m sure I’ll see it later”). That level of cohesion and depth of meaning between character and action is rare, and its why Die Hard remains the pinnacle of action cinema.
And I don’t know if it was the first movie I learned about c-4 explosives, but I do know that c-4 explosives were in every action movie after this. When I was 10 years old, I was sure I would die from a c-4 plastique explosion. What I’m saying is, Hollywood misled me about the preponderance of c-4 explosives.
2. Cop culture. The movie is not without its flaws, but they’re more a reflection of societal flaws than flaws with the movie itself. Die Hard explains a lot about how Americans view police, and while there is a lot of truth to its portrayal of cops and policing, it also served to reinforce very problematic views.
The heroes of the movie are an NYPD officer and an LAPD officer. This is hardly the first or only movie with a cop as protagonist; in fact, there is an overwhelming amount of movies and shows featuring hero cops. Positive police propaganda in entertainment has helped produce a culture of hero worship towards law enforcement. The police are also on the receiving end of McClane’s ridicule, so that provides a nice balance at least. Unfortunately, the character of McClane promotes the idea of the super-effective “loose cannon”: the tough talking, rule bending cop who defies bureaucracy to get the job done when nobody else can. Rules and regulations are for chumps, the bosses and lawmakers don’t know what they’re doing, and if we just let good cops do what they gotta do, everything will work out!
There are so many police tropes in this movie. There’s the contempt for the bosses, the media, and especially for federal agents, who have jurisdiction over everybody and think they are so high and mighty, but really don’t have a clue. None of these things take away from the movie though, because it never feels generic or formulaic, everything feels true to life. A testament to the writing. The rapport of Special Agents Johnson and Johnson is hilarious. There’s also a sly critique of the Vietnam War. The older agent mentions Saigon when they are flying in the helicopter, and moments later, they get blown up because they got into a situation they didn’t really understand. Before they went in, one mentions that 25% of the civilians might die. The other responds, “I’m ok with that.” A look into the minds of the Deep State.
And then of course, there’s Sergeant Al Powell. He’s a lovable cop who is smarter than his boss and wants to do the right thing. He’s a kindhearted, gentle soul who…wait, he killed a little kid? What the fuck, Al? Staying true to life, he was never arrested, or fired, or even suspended. But hey, he’s been punished severely, ok? He has to work at a desk! The horror! And he’s really torn up about what he did. The guy can’t even bring himself to shoot anyone else! If he can’t kill people, is he even a cop? He also kinda blames the kid for being out at night. Instead of feeling any sympathy for the kid or the kid’s family, we are asked—forced—to sympathize with this guy. The real tragedy is that a good cop is being unfairly punished!
In the end, when he shoots down the massive Austrian, it’s a powerful moment not only because he saved the day, but because he was able to shoot his gun again. He’s back baby! Fuck you, kid! That is Al’s character arc. He was sad after killing an innocent kid, he couldn’t do his job correctly (which obviously entails frequently firing a gun) but his friendship with another cop allowed him to kill again. Sweet.
Ultimately, the movie’s view of Powell reflects how a lot of people view killer cops. It was an accident. He didn’t mean it. He’s a really good guy underneath it all, and he has a tough job. Can’t we forgive and forget? Well, yes, obviously. That’s exactly what happens, every time. The cop avoids any real accountability, we don’t ever think about the victim again, and the cycle continues. Sometimes I wish this movie wasn’t so damn good because that’s pretty fucked up!
3. Christmas theme. The big debate…that actually doesn’t matter one bit. That’s why it’s so fun! Honestly, who cares if it’s a “Christmas movie”? Watch whatever the hell you want, whenever you want. I call this a Christmas movie because I love Christmas, I love Die Hard, and I love watching Die Hard around Christmas. It’s simple. Also, Christmas is prevalent in the background of the film, it is a major part of the plot, and ultimately, the movie is about a husband and wife rekindling the fire of their marriage during the holiday season. It hits all the notes.
McClane is traveling to LA because he wants to be with his wife and kids on Christmas. He meets his wife at her office’s Christmas party. There are Christmas decorations everywhere, there’s a Santa suit in a pivotal scene, Christmas music plays throughout (the very first song of the movie is “Christmas in Hollis”) and of course, there’s a bearded Prussian man exclaiming, “Ho…Ho…Ho.” After the guy opens the safe, he exclaims, “Merry Christmas”. (The safecracker has a lot of great lines, especially when he narrates the security video of the police trying to get in the building.)
To end the movie, John says, “Merry Christmas, Argyle” as Let it Snow plays over the credits and the reunited couple happily kiss as they return home to their family. At every crucial juncture of the movie, Christmas is either directly mentioned or referenced in the background. That’s more than just a movie that takes place around Christmas, that is a full-fledged Christmas movie. Fa la la la la, motherfucker.
4. Bromance/Romance. This is a real MAN movie, a modern day Western, but deep down…it is overflowing with romance. As I already stated, McClane’s entire motivation is to get back with his wife, and in the end, he drives off with his wife, happy. The sun rises over their limo as they kiss. Romantic as hell.
He has finally realized what is most important in the world, but he is only able to do so after forging a strong relationship with another guy. McClane opens up to Al about himself and his marriage, which brings them closer, and allows John to reflect on his failures as a husband. They also share the most powerful moment of unbridled bromance ever captured on film.
John and Al have great lines and chemistry every time they talk, but they are still essentially strangers. They have never really met. Their discussions are like Zoom calls; they can be very meaningful exchanges, but it’s just not the same as seeing your friends in person. Nothing can replace a Bro Hug. Then, when the evil has finally been defeated, and John knows that Holly is safe…they finally meet. The joy and the MAN love is palpable. I get goose bumps just thinking about it. The way they catch each other’s eyes from across the parking lot, and they just know. The head nods. The smiles. The relieved, almost delirious, laughter. The hug. It’s a beautiful thing. I’m not crying.
5. It’s my Dad’s favorite movie. One of them at least. This is a highly personal reason for loving this movie, but it’s also connected to reason #4.
Most guys enjoy action movies, so it’s no surprise we both love the movie. Christmas is a big holiday for our family, and since this is clearly a Christmas movie, we tend to talk about it every year. So it reinforces our bond even more than Christmas itself does. We discussed it the other day, actually. I mentioned that Al Powell isn’t the great guy everyone thinks he is. He killed a kid! My dad said, “well, true…but maybe the kid deserved it? What was he doing out at night?” So if you ever wonder where I get my sense of humor, there you go.
Christmas is my mom’s favorite holiday, but she always loved It’s a Wonderful Life. I hate that movie. So while we share the love for Christmas and Santa and decorations and Christmas carols and turkey and each other, we don’t really connect on that one. To be fair, she loves Die Hard, too. Just not like my Dad and I.
A love between father and son, and males in general, is often unspoken. Few words are needed to express our feelings. So, when guys see Al and John meet at the end of the movie, and their love for each other is so deep it doesn’t need to be verbally expressed, we feel that in our souls. Women, I don’t know if you can relate, but it’s probably something like when you and your friends sync menstrual cycles. I’m guessing here. Sorry.
My father and I love each other, and we love this movie, a movie that exalts the beauty and values of male bonding, which reinforces our bond even more. Thank you, John McTiernan.
My dad’s love for the movie also reinforces my view of him as John McClane. McClane isn’t a great father figure per se, so it’s not a direct comparison, but he is a symbol of masculinity that allows for faults, and even a modicum of sensitivity. He’s a flawed man, but he’s trying his best to do right. He is a modern day hero. He is my Dad. With more guns, and less hair.
6. John McLane. The name is synonymous with badass, and its often used as a sarcastic remark directed at someone acting overly tough. “Oh, look at John McClane, over here.” “Relax, John McClane.” I think it took the place of Dirty Harry in that regard.
It seems so obvious that this movie and this character were gonna be a huge hit, but that was not the case when it came out. Bruce Willis was a tv star, not a movie star, and at the time, there was a stigma against tv stars. If a movie star showed up in a tv show, his career was clearly going downhill, and it was rare for a tv star to make the direct jump to starring in movies. Willis was also far from the typical action star at the time. In 1988, the other top action movies featured Schwarzenegger, Stallone, Jean Claude Van Damme, and Steven Seagal. Seagal and Van Damme were “martial artists”, Schwarzenegger and Stallone were hulking, muscular killing machines. Those two actually turned down the role of McClane (The Simpson’s brilliantly depicted what it would have looked like if Arnold took the role with their “McBain” parody). Ironically, Stallone went on to later star in Die Hard on a Mountain (Cliffhanger).
So this slender, balding wiseass from tv was not predestined to be one of the biggest action stars on the planet. The character was also much different than the typical action hero. He was basically a blue collar worker, an average guy with an average build going through relationship problems, a noble but flawed hero who didn’t mow down all the bad guys at once; instead he stalked, cornered, and used his wits to take them down. And his guns and fists, sure, but in a way that made us feel we could do it, too. He got beat up almost as much as he beat them up. That is relatable. All this shit kept working against him, and he had to adapt and figure it out, instead of everything just working out for him,
Despite the image of the loose cannon hero cop which the movie helped solidify, it’s a great character. He gets easily frustrated at his wife, at the other cops, and even at the operator for not taking him seriously. “No fuckin shit lady does it sound like I’m ordering a pizza?!” He cracks solid jokes, not corny one-liners. Most of the time, the lines build off something else, they are far from Arnold quotes, just puns for the sake of puns. When he says, “yippee kay yay motherfucker,” it isn’t some random catchphrase he spouted off. It was a direct response to Hans calling him a cowboy, and it’s a phrase made popular by Roy Rogers, who McClane says he is partial to over John Wayne. It’s a great line on its own, and I’ve used it randomly many times, but there is important context that deepens the meaning and impact of the quote. That’s how this whole movie works; every part is great, and every part contributes to a whole, which is even greater.
7. Hans Gruber. Alan Rickman was an unknown actor, so the likelihood that this would be an iconic performance was smaller than the chances that Bruce Willis would become a movie star. Yet, in his first movie role, he became the best action movie villain of all time. The character. The performance. Every moment is his best moment. When he walks in and calmly tells the crowd to quiet down after his men shot the place up. When he tells Takagi it would be a shame to ruin his nice suit. The way he smirks when he says, “who said we were terrorists?” His accent when he pretends to be American. The way he says yippee ki yay madafucker. Even his death scene is perfect. “Happy trails, Hans.” Happy trails, indeed, Mr. Rickman.
8. Argyle. One of the greatest names in cinematic history. I’ve never seen or met an Argyle, but I know for certain that this man is an Argyle. He’s a comic relief sidekick that adds another level of depth to the story and to the character of John McClane. He is the first one to get John to open up about his marriage, ribbing him about his separation. He is also one of the earliest examples of the cool young black guy who gives the old conservative white guy street cred (he introduces McClane to Run DMC; how had he never heard Christmas in Hollis? He lives in New York!). Once Argyle finally realizes what’s going on in the building, he even takes out a bad guy. Of course, it had to be the one black bad guy, but that’s neither here nor there.
Most of all, he is a stand-in for the audience. For the majority of the movie, he is just listening to or watching the action. When McClane says over the walkie talkie, “I’m not the one who just got buttfucked on national tv!” the camera cuts to Argyle in the limousine clapping and laughing his ass off. Basically, we are all Argyle, cheering on John McClane; and if we had the chance, we would’ve taken a bad guy out, too! And yeah, it would have also hurt our fists!
9. Holly Genarro (not McClane). Holly is a strong, independent woman, and we know that because she switched back to her maiden name for the sake of her career. That one detail tells us everything we need to know about her and her situation with John. She is in love with him, and she eventually needs him to save her, but she’s not just some damsel in distress. That stereotype is successfully subverted because her character is as well developed as the hero’s. She is smart and strong willed (how else could she get away with that perm?) and she becomes the de facto leader of the hostages after Hans kills her boss. Although she is almost always talking to a man who has some kind of power over her, she is always in control, or at least, she never backs down. She’ll even punch a dude in the face if she has to (“did you get that?). In the end, she doesn’t sacrifice her integrity as an independent woman, but she does reunite with her husband. Because this is ultimately a romantic Christmas movie.
10. Ellis. “Hans…Bubby!” The best. Ellis is a perfect parody of the 80s hotshot cokehead finance guy. He’ll just talk the problem away, and he knows better than anyone else. Of course, his big mouth and ego get him in some shit he doesn’t understand, and he doesn’t have a chance against a guy who doesn’t fall for the fast talking salesman theatrics. Hans brilliantly uses his murder to sow distrust between the police and McClane. Ellis is left with a hole in his head, and his death leaves a hole in our hearts. Goodbye, sweet coke prince.
11. Small moments that add nothing to the plot. These are moments with no real deeper meaning that don’t really move the plot forward, they just build character, or add ambiance, or they’re just fun. A lot of movies/screenwriters think everything needs to be plot-driven (think of the scenes in Marvel movies that only exist to connect to a plot point from a different Marvel movie). Some writers/directors consider these moments a waste of time, a needless digression. But people don’t watch a movie just for its plot. We want to be entertained. Not everything needs to be important or even relevant. Al getting Twinkies at the store isn’t necessary, but it’s funny, and tells us a lot about Al without overtly explaining anything. There’s no exposition about what type of guy Al is, we know when we see him with an armful of Twinkies, claiming they’re for his wife. When John arrives in LA, he sees a hot girl in stretch pants running towards him, he gets excited, then she passes and hugs her body builder boyfriend. That isn’t important, but it’s funny, and it tells us a bit about McClane (he’s a typical, testosterone fueled guy). It also tells us about the setting, and how McClane feels in this environment, far away from NYC. Similarly, when he gets to the party, a guy kisses him and says Merry Christmas. McClane says to himself, “Fucking LA”. He’s a fish out of water, a conservative New York cop in swanky, liberal LA.
Then there’s the couple having sex in the office when the terrorists bust in. The woman runs out of the room topless. That’s just a treat for the audience. It also tells us what kind of party this is, just like when we see Ellis blowing a line of coke. The world of high finance, baby!
12. Small moments that add a lot to the plot. Sometimes, seemingly random, throwaway lines and moments end up being vital. The movie opens with McClane on a plane. His neighbor gives him a secret for dealing with flight anxiety. When you get to your hotel, take off your shoes and socks, and make fists in the carpet with your bare feet. Besides the fact that this is actually a great stress reliever, it leads to a key plot point: McClane has to go barefoot through the building while hunting for terrorists. When Gruber finds out, he utters the infamous: “shoot the glass.” From that point on, McClane’s feet are absolutely destroyed and he has to spend half his time pulling out shards of glass and looking for shoes. That random statement from a random stranger has a major impact on the main character and story.
There’s also Holly’s watch. The first time we meet Ellis, he tells John about the Rolex Holly got as a bonus. John says, “I’m sure I’ll see it later”. Of course, he does see it later, when he unclasps it from Holly’s wrist and frees her from Gruber’s grip, sending Hans to his glorious death.
When the cops first decide to raid the building, one of the cops pricks his finger on a thorn bush. He gives a dramatic “ouch” and acts like he was stabbed or hit with shrapnel. Moments later, he and his entire team are taken out by Hans’ crew. The thorns should’ve been a sign that these cops were not ready or able to do the job they were about to do.
There are so many of these moments. Another one: when Holly puts the picture of her and John flat on the desk so Hans won’t see it. She knows he would use her against John, which is exactly what Hans does when he finds out who she is because of the reporter. That then leads to her cold cocking the reporter.
Is it bad that all of the major protagonists use violence to solve their problems? Whatever. The movie is too good to worry about the societal implications. Besides, that punch feels so good. Cinematic violence is fun, what can I say. How much better would It’s a Wonderful Life be if George Bailey punched Mr Potter in the face at the end? A lot better.
13. Sound and music. Ever notice how loud the gunfire is in this movie? It’s another small detail, but it matters. At the very least, it made for an interesting behind the scenes story. When the guy is on top of the table shooting at McClane, and McClane is under the table shooting back, the director insisted on extra loud blanks for “extra realism.” It was so real, and extra, that Bruce Willis was left with permanent hearing damage in one of his ears. That is dedication.
To set the stage, Christmas music plays throughout the movie, and the melodies of several Christmas songs are referenced in the score. Certain notes and tones are used when the villains are on screen. When we first see him, Hans Gruber is humming “Ode to Joy” in the elevator before the siege. Ode to Joy then plays several times throughout the movie, in a very low tone, building to the full symphony when the vault is opened. That’s a level of synchronicity between story, character, and music that most movies never even attempt.
By the way, Ode to Joy is considered a Christmas carol in Japan. In what building do all the events of the movie take place? That's right. Nakatomi Plaza.
Die Hard just blew your mind. Hope you didn’t ruin your suit.
I Love You All...Class Dismissed.
