It is undeniable that John McTiernan’s magnum opus works on more than one level. Apart from the superficial action-popcorn fodder most see in it, many have also read into the film the ultimate Christmas movie, as convincingly argued here and here.
The evidence is compelling, but I would argue there is a third level we can read into the movie which tells a much more incendiary story. I will state it bluntly:
Die Hard is an ode to the uprising of the working class against greedy, decadent capitalism. Furthermore, it also covers the power struggle among different classes and how middle classes often aspire to take over the place held by upper classes to usurp (not share) their privileges.
In the film, Joseph Takagi (Jame Shigeta), i.e. the ruling upper class, although affable and generous enough on the surface, secretly despises all the upstarts, fearing Hans Gruber (Alan Rickman), treating Harry Ellis (Hart Bochner) with contempt, and forcing Holly Gennaro (Bonnie Bedelia), John McClane’s wife, to disguise her commoner roots by giving up her married name. It is no coincidence that Takagi in the script is from Japanese extraction—in the West this is the way authors telegraph “from a rigid class system” to their audiences. It is also no coincidence Takagi is part of the Nakatomi corporation (read “clan”). The Nakatomi clan was an influential and aristocratic kin group whose history goes back to the very origins of Japan. Takagi, in other words, is the real thing.
The evidence is compelling, but I would argue there is a third level we can read into the movie which tells a much more incendiary story. I will state it bluntly: _Die Hard_ is an ode to the uprising of the working class against greedy, decadent capitalism. Furthermore, it also covers the power struggle among different classes and how middle classes often aspire to take over the place held by upper classes to usurp (not share) their privileges.
In the film, Joseph Takagi (Jame Shigeta), i.e. the ruling upper class, although affable and generous enough on the surface, secretly despises all the upstarts, fearing Hans Gruber (Alan Rickman), treating Harry Ellis (Hart Bochner) with contempt, and forcing Holly Gennaro (Bonnie Bedelia), John McClane’s wife, to disguise her commoner roots by giving up her married name. It is no coincidence that Takagi in the script is from Japanese extraction—in the West this is the way authors telegraph “from a rigid class system” to their audiences. It is also no coincidence Takagi is part of the Nakatomi corporation (read “clan”). [The Nakatomi clan](https://en.wikipedia.org/wiki/Nakatomi_clan) was an influential and aristocratic kin group whose history goes back to the very origins of Japan. Takagi, in other words, is the real thing.
Hans Gruber, on the other and is an aspiring aristocrat, an arriviste. All the other characters originally assume he is a terrorist, fighting for some lost cause. There is mention of Gruber having belonged to a Volksfrei (“Free the people”) terrorist cell and it would appear he has gone rogue, but is still fighting for the underdogs. Gruber even plays on this perception several times in the film by demanding freedom for supposed comrades jailed around the world and mentioning how Nakatomi will pay for its capitalistic sins.
However, when Gruber arrives on scene at the party, he acts as if he were presiding over a board-meeting and he postures as belonging to the privileged few over and over. Thus, when he traveling in the elevator with Takagi, he admires his suit, commenting that he has two from the same tailor. In case of doubt, McTiernan subtly telegraphs Rickman’s character’s real nature through his surname: “Gruber” means nearly literally “upstart”, person rising from the pit or from humble beginnings.
Gruber also defines his aspirations through his actions and his choice of means to reach his goals. Gruber’s minions use the high-tech tools that have enthroned upper middle class as the new elite. They use computers, hi-tech weapons and communications, in other words, tools designed to oppress and manipulate. Meanwhile working-class man, John Mclane (Bruce Willis) uses rotary saws to distract his enemies, vents and ducts to get around, and chains to incapacitate Gruber’s men, i.e. he uses the means of manual laborers to foil the aspiring Gruber.
As for McClane’s would-be allies, the enforcement institutions tend to side with the capitalists. Deputy Police Chief Dwayne T. Robinson (Paul Gleason), is all too happy to try and comply with Gruber’s demands, and, when McClane finally exits the building, Robinson berates the hero and tells him he will be charged with destruction of private property.
Ah! Private property! Material Things… The status symbols of capitalists and the shiny beads with which the upper class tempt lower classes to do their bidding with the promise of more material richness to come. Holly Gennaro’s (Bonnie Bedelia) Rolex is a prime example of this and plays a key role in the outcome of the film.
First mentioned by Harry Ellis (an upstart in a class of his own who, when trying to win the favours of both worker McClane and incumbent prince Gruber, is rejected by both and pays for his temerity with his life), the timepiece, awarded by Nakatomi to their faithful underling, becomes the most masterful symbol in the whole film: McClane has to physically detach it from Gennaro’s wrist to save her life in the climax. Gruber, on the other hand, still clutching it , i.e. still refusing to renounce the position he aspires to occupy, plunges to his death.
Gennaro has to reject her aspirations to the oligarchy and rejoin the working class and their struggle, to avoid being destroyed. Only when she rejoins the ranks of the proletariat can they both, working women and men together, succeed in their battle against exploitation.
Next week: On how “The Smurfs and the Magic Flute” represents Humankind’s Angst when faced with an uncaring Universe.
