This is a continuation of my post
on why Die Hard is such a perfect movie. I suggest starting there.
Dialogue, Character, and Plot
Every line in the movie adds to the film. Nothing is wasted. And if there is something, I can't see it. Yes, there's a reason I'm not breaking this up, mainly the dialogue feeds into both the character and the plot ... and because character adds an extra dynamic to this plot.
The first scene alone does so much, it's stupid. Remember, the scene is John McClane talking to the passenger next to him on an airplane. It gives him a reason to be shoeless during the movie, and establishes his profession, and is already adding to his character by both giving us his CV in a smooth, effortless way. It establishes his anxiety about flying, giving him a cute character trait. Also, it already shows us just how much of a smartass he can be... McClane's shoeless wardrobe "choice" in the film leads into a brilliant, brilliant moment that deeply hurts him later on.
We've already covered how the Rolex adds to the plot, and that was all covered in three lines of dialogue -- it both underscores Ellis' pursuit of Holly, struts it before John McClane, and dangles this metaphorical gun in front of the audience's face without anyone realizing how integral ANY of it actually is. Ellis, who has few lines in the movie, serves many functions. One, his presence gives a counterpoint to McClane's actions throughout the film -- no matter how many gunman McClane takes out, he's still only one person. Ellis is one of the many realists in this film, but the only one who is among the hostages.
Ellis' strutting egomania, his coke problem, and his focus on Holly all culminates in the pinnacle of his arc. His egomania and his drug problem drive him to try and negotiate with Hans and company -- he thinks he can talk them down, give them what they want, and they can all go home. And while he gives them McClane's name and occupation, Ellis makes it a point to spin the story that
he brought McClane to the party, and there is no mention of Holly. For such a minor character, Ellis provides a lot.... even though giving up John's name will eventually lead to Holly. And his death is one of the few things that hurts McClane.
And that's a secondary character. Maybe even tertiary.
Dialogue establishes a lot in this movie. It establishes Mr. Takagi's character and backstory with Hans' first speech, and adds an emotional blow to Takagi's death. The offhand lines about needing the FBI, and "it's all part of the plan" feed into the turning point of the film, and a mystery that is on par with any twist by
Mission: Impossible,
Leverage, or Jeffery Deaver. In fact, I would say that Deaver was warped by
Die Hard.
A lot of things in the second half of this movie are almost perfect mirrors to stuff from the first half. The conversation between John and Holly in (what I think is) her private bathroom leads directly to a conversation that is the turning point of the film... which is also in a bathroom. McClane is at his lowest point. He's been wounded physically and emotionally. It's the flip side of the earlier conversation with Holly, and while it's depressing, it has a point, and also accomplishes much. McClane's relationship with the LAPD Sgt. Powell, outside of the building comes to a head, and it leads directly to the punchline.
Dialogue, and the Little Touches
And there are aspects that are not major, massive plot points, but are little things. It was Michelangelo, I think, who said that trifles make perfection, and that perfection is no trifle. In the case of Die Hard, it's the small things that add a surprising amount of character to people who serve some very basic functions.
Heck, just look at the character shown in Hans' merry band of killers, and the LAPD, who are most assuredly the most basic part of this endeavor.
For example, look at "Karl." He's the Bond Villain sidekick of this film. But the first time we see him is carrying a chain saw, about to cut the phone cables for the building...and he's competing against another gunman, who's trying to either bypass the alarm for the building, or cut the phone system via a more elegant, less brutal fashion, I could never tell. But you could tell from that scene alone that the two gunman are brothers, and that the death of the younger brother by McClane (the first gunman he kills), drives Karl throughout the film, giving him solid reasons for actions that are detrimental to Hans and his plans.
Then there's the terrorist who sets up shop in a confection stand, bringing out piles upon piles of gun magazines .... and grabs a candy bar.
Then there's Theo, the Hacker. Who gambles, likes sports and sports analogies, and takes his computer job seriously, yet treats everything else with a sense of levity. He's dour and serious about breaking into the computer and the building's vault, but cracks jokes as he coordinates the gunmen to shoot and blow up a bunch of cops.
And then there's the chauffeur, Argyle, whose presence in the film is almost comic relief -- whether we're laughing at his obliviousness to the situation, or his line to the stuffed animal to "shut up," and even his little victory over Hans' hacker.
Conclusion
Obviously, I can go on forever about this movie (as though I haven't already), but let's face it, it's a good film with lots of little things thrown in that make it a great movie. Notice, there are a whole bunch of things I didn't mention that are also writing moments.
Such as?
Hans and McClane, face to face, giving the audience a much-needed confrontation between hero and enemy...
Enough C4 to Orbit Arnold Schwarzenegger..."Heinrich had the detonators"... all feed into the finale...
Why Hans is possibly the most quotable movie villain ever. He's cultured, he's educated, he's well dressed, he reads all the "right" magazines, and he's such a cold-blooded, callous murderer...
How Die Hard also has elements of parody, going after both the media and the FBI.
There's a lot here, but this article is almost two thousand words long already. Though I think there's no denying that Die Hard could be used to teach writing classes.
