Attending a screening of Die Hard at Newcastle’s historic Tyneside Cinema has become somewhat of an annual tradition. Monday’s visit provided me with the third attempt since 2015 to relive all the action and splendor of this rather unexpected Hollywood hit on the big screen. And despite originally being released in July 1988 the film has gained a remarkable amount of traction in the intervening years as a Christmas Classic.
Of course, Die Hard strains from the traditional narratives of most action films of its period, and with good reason. The story (if you’re completely unaware) is about New York Policeman John McClane (Bruce Willis). McClane is travelling to Los Angeles to visit his estranged wife Holly, played by Bonnie Bedelia. Arriving on Christmas Eve he finds a work party interrupted by the arrival of terrorists, led by German Hans Gruber (Alan Rickman) and quickly decides to tackle the groups intentions and fight back alone.
The casting of the film in itself was an interesting choice, as the studio had little faith in Bruce Willis ability to command the role. Early promotion of the film featured attention towards the action in the plot rather than the star and even Willis has admitted to only truly deciding key facets of McClane’s character mid way through shooting. On the reverse, Holly’s character has a much more prominent involvement than you might expect from the traditional “damsel in distress” and Gruber’s own calm, collected exterior is essentially the narrative of the story. Without his plan to extort money from the Nakatomi corporation the film has little to no basis. McClane’s estrangement from his wife could be settled in a few minutes as a will he or won’t he.
Credit must also be given to the films use of notable film actors from the era. Paul Gleason, William Atherton and Robert Davi all perform small but pivotal supporting roles that – added to their performances in Ghostbusters, The Goonies and The Breakfast Club (for example) – make it seem almost like extensions of those characters. The film also strays from the traditional in other areas too, for example, a scene in which McClane and Gruber meet on the roof of the building. It’s unconventional as neither the two should meet until the climax, but was the result of a realization on set that Rickman could do a convincing American accent and so was hastily included.
Seeing the film on the big screen after 30 years also helps us realize mistakes, especially if we’ve watched it a few times before. In one scene where McClane descends a stairwell as sprinklers fight a blaze, a Christmas tree is seen to fall from behind him. Monetarily he checks, unaware as to whether there is a terrorist lurking behind, and you can just make out the silhouetted shadow of the stage hand who pushed it over. Other scenes, such as Ellis’ “negotiation” with Gruber allows us to revisit the traditional – with a deliberate pause on audio as someone pours a can of Coca Cola. How little things change.
The film displays all the qualities of a Hollywood Summer blockbuster but the decision to set it during Christmas (a decision which predated the script, based on the original concept, the 1979 novel Nothing Lasts Forever) actually places it in a rather unusual demographic. Appealing to those who love the holiday, and those who don’t, it uses Christmas to it’s full advantage in some of the most memorable scenes – including when McClane hides a gun on his back with wrapping tape and when he uses a Santa hat and a yuletide message on a deceased terrorist. But the amount of violence and action resolves to make the message that even those offended by Christmas cheer will have something to enjoy in this one.
The only enigma in the film is that of Sgt Al Powell. The character, who provides John McClane with support and assistance throughout the film, received fourth billing in both this and the films sequel (despite only making a brief cameo in the latter) and the actor who portrayed him appeared in both this, Ghostbusters (as a correctional officer) and Crocodile Dundee – arguably three of the most iconic films of the decade – yet sadly Reginald Vel Johnson never managed the successes of Bruce Willis or Alan Rickman.
At it’s core, Die Hard is the ultimate action film – it contains no end of action and suspense while also fulfilling in dialogue, story, condition and humor. And all you need to do in exchange is survive the mummers in the audience as an attendee recites the classic quote you’re just about to hear just before you hear it. Michael Kamen’s score leads to welcome us to a use of ‘Ode to Joy’ and we’re inclined to agree. Not one to be missed.
Die Hard plays at Tyneside Cinema, Newcastle, on Saturday December 23rd 2017