Review: Die Hard

It’s Christmas time, and NYC cop John McClane (Bruce Willis) has flown in to spend some time with estranged wife Holly (Bonnie Bedelia) and the kids. Holly is at the Nakatomi Plaza high-rise building for her Japanese-American company’s Christmas party and John is hoping to meet her there. Before they have much time for a rather tense family reunion, a group of multi-national terrorists headed by German criminal Hans Gruber (Alan Rickman) waltz into the building and take everyone hostage. Everyone except John, whose presence somewhere else in the building Gruber and co have not yet cottoned onto. This one tough, wise-cracking cop is about to try to spoil the terrorists plans and save the day. He sure would like some backup from local law enforcement, though. Gruber’s men include the likes of Clarence Gilyard Jr., Alexander Godunov, Andreas Wisniewski, Al Leong, Dennis Hayden, Wilhelm von Homburg, and Bruno Doyon. James Shigeta plays Nakatomi head Takagi, whilst Hart Bochner is sleazy Nakatomi employee Harry Ellis, a coke-snorting fool who thinks he’s slick enough to negotiate with terrorists. William Atherton plays a sleazy tabloid news reporter, Mary Ellen Trainor plays a TV news reader. Reginald VelJohnson plays a donut-eater who serves to be the only lawman with half a brain, whilst the brainless include LAPD Deputy Chief Paul Gleason, and gung-ho FBI men Robert Davi and Grand L. Bush as (get this) Agent Johnson…and Agent Johnson (no relation).

One of the greatest action-thrillers of all-time, hell, one of the greatest movies of any genre ever made. It’s also, despite what star Bruce Willis may tell you, a perfectly acceptable Christmas movie. It’s certainly a quintessential 80s movie: High-rise building, Japanese-American conglomerate, idiot cocaine-snorting executive, etc. This 1988 action blockbuster from director John McTiernan (“Predator”, “The Hunt for Red October”) is simply the model of its type, unequalled in all of the years since. Based on a Roderick Thorp novel, the script by Steven E. de Souza (“Commando”, “The Running Man”, “Die Hard 2”) and Jeb Stuart (“The Fugitive”, “Fire Down Below”) is really quite remarkably well-written given how many characters it needs to juggle. And true to form, de Souza gets a lot of humour into the scenario as well, with Bruce Willis at his wisecracking best. Seriously, this is the best acting performance he’s ever given, and certainly the liveliest he’s ever been. It’s a bit of a shame that Willis and his John McClane became less and less ‘fun’ with every subsequent film, because here he’s one of the cinema’s finest action heroes. A cop who is going to save the day, but not infallible or unable to be wounded. He’s no “Superman”, that’s for damn sure. He also gets most of the film’s signature wisecracks, usually born out of irritation from being thrust into this situation outside of his police jurisdiction. And on Christmas for gawd’s sake!

Willis’ McClane shares this film largely with arch-nemesis Hans Gruber, played in brilliantly droll, intelligent fashion by the late Alan Rickman. Rickman would go on to do great work in other films (principally “Galaxy Quest”, “Love, Actually” and “Robin Hood: Prince of Thieves”), but his Hans Gruber is unquestionably the highest point in a very fine career. Amazingly, although he had been on stage and in TV work for years beforehand, this was actually Rickman’s debut. His best performance was his first. Amazing because he’s so on-point right at the beginning of his film career and going toe-to-toe with Willis, who at least had one lead film role before this one (“Blind Date”) as well as a hit TV series (“Moonlighting”). It’s a bit of a shame that subsequent films “The January Man” and “Quigley Down Under” pretty much flopped, but Rickman didn’t have to wait too long for another hit with “Robin Hood: Prince of Thieves” (The romantic “Truly, Madly Deeply” is a favourite film of many, too). Hans Gruber is the epitome of diabolical, cunning, cultured action movie terrorists. He’s cold, calculating, and frankly a little batshit too. Basically, Rickman’s Hans Gruber is the best Bond villain to never appear in a Bond film, and the perfect foil for McClane’s street-wise, smart-mouthed, uncouth American cop character. I think the humour and Rickman’s constant look of disdain are what really sell the character. The guy likely barely tolerates the guys he’s got working for him and clearly has no respect for the intelligence of those in law enforcement, either (perhaps with some good reason). There’s an especially funny scene where Gruber gives LE a list of terrorists he wants freed and it’s clear he’s just fucking with them and playing for time. It’s wonderfully dry stuff from the late actor, well-served by the script.

There’s some excellent work in the supporting cast, even if the screenplay serves some better than others. The always underrated Bonnie Bedelia is outstanding as McClane’s estranged wife, trapped in the Nakatomi Plaza high-rise. She’s instantly likeable and manages to give what is essentially a wife/mother and hostage role a little bit of toughness. She realises that as well-prepared as these terrorists are, they likely don’t know who they’re dealing with when it comes to her husband. James Shigeta is also excellent as the benevolent Japanese-American businessman Joseph Takagi, who does not make deals with terrorists, thank you very much. He does however, have the film’s most head-scratching line to Rickman’s Gruber: ‘You want money? What kind of terrorists are you?’ Yeah, that stands out like a sore thumb doesn’t it? While we’re talking about the Nakatomi Corporation, special mention must go to the outstandingly oily Hart Bochner as everyone’s favourite ill-fated douchebag, coke-snorting, smug-smiling, wannabe wife-stealing executive Harry Ellis. Oh My God is this guy a walking corpse from his first moment, and has probably my most quoted line from the film: ‘Hans…Booby’. I don’t know why, but that one always cracks me up. I also love how he’s such a massive knobhead that he sees no issue with referring to his boss colloquially as ‘Jo Jo’. What a schmuck (His manner when dealing with the terrorists? ‘Sprechen sie talk?...’). Among Gruber’s men, Alexander Godunov and Clarence Gilyard Jr. probably get the most opportunity to shine. As Gruber’s volatile right-hand man Karl, former ballet dancer Godunov is perfect in a very intense performance. Gilyard’s Theo is interesting, as he’s clearly just a hired tech head, who probably wouldn’t be much use in any kind of physical fight, yet sticks around for pretty much the entire film. Of all of Gruber’s henchmen, he’s also the only one afforded a sense of humour, with an all-round cocky and self-pleased demeanour. I do wish that veteran henchman Al Leong and hulking former wrestler Wilhelm von Homburg (best known as Vigo from “Ghostbusters II”) were given more scenes, but when you’ve also got a former Bond henchman (Andreas Wisniewski) and a Huey Lewis lookalike (Dennis Hayden, also underused) competing for screen time, I guess some are gonna get the fuzzy end of the lollipop (or chocolate bar in Leong’s case). The film got ragged on a bit by critics for its dumb-dumb depiction of law enforcement, and wasting some good character actors in those roles. Well, I happen to think the actors do just fine with what they’re given (Paul Gleason and Reginald VelJohnson in particular). I also have to say that the depiction of law enforcement being essentially ineffectual dick-swingers in a pissing contest with each other (and McClane) has the ring of authenticity to it as far as I’m concerned. Especially looking at it from a 2020 perspective, it doesn’t seem all that false or caricatured to me. If there’s one character who doesn’t really need to be here it’s William Atherton’s arsehole, over-ambitious reporter. The problem with removing the character however is that you remove the hilariously smarmy, sleazy performance that Atherton gives in the role. He’s one of the best parts of the film, necessary or not. As for Mr. Gleason, he’s pitch-perfectly cast as the all-round arrogant, stubborn arsehole whose job in the film is to be wrong about absolutely everything. I don’t see that as a flaw in the film, as someone’s gotta play the idiot on a power trip. There’s lots of nifty little scenes throughout the film with McClane crawling around in tight spaces like elevator shafts etc, showing off terrific production design and perhaps the best-ever work by cinematographer – and occasional filmmaker – Jan De Bont (“Cujo”, “Jewel of the Nile”, “Basic Instinct”). It’s a gorgeous, glossy-looking piece of 80s movie photography I must say.

Has there ever been a better-paced, better-edited action movie ever? Not to my fairly exhaustive knowledge. A masterpiece of action, suspense, cinematography, music, editing, direction, and casting. Watch Bruce Willis in this and then watch him in anything since about 1995 (except maybe “The Sixth Sense”) and weep. Or just keep watching this to see a guy doing committed and exemplary work in a truly great film.

Ho, ho, ho. #HansBooby.

Rating: A+