Die Hard With a Vengeance Is Still Blowing Us Away 30 Years Later

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In this opening, I’d typically make a point that Die Hard with a Vengeance surpasses the original in my opinion, but that’s not accurate. Instead, it holds a special place as my favorite movie in the series, one I watched in theaters when I might have been too young for such an action-packed film. Despite being a sequel, many consider it the best, and each time I revisit it, I discover new aspects about Die Hard with a Vengeance that I hadn’t noticed or had forgotten. So, let’s delve into some intriguing details.

In the third installment, screenwriter Jonathan Hensleigh takes over, with director John McTiernan resuming his role after declining Batman Forever. The story finds our protagonist, John McClane (portrayed by Bruce Willis), in a downward spiral, struggling with alcoholism and forced back to work prematurely from suspension. To make matters worse, he’s dealing with a citywide terrorist threat that has set off bombs, leaving him to navigate riddles and puzzles to defuse them. Simon (played by Jeremy Irons) isn’t just causing trouble for McClane; there’s also a larger scheme at play involving the theft of vast amounts of gold. However, if New York Police Department officer McClane and his latest ally, Zeus Carver (Samuel L. Jackson), can create some obstacles, they might just thwart these criminal plans.

In the tradition of previous installments, DHwaV’s script was repurposed content not initially designed for the series, as Willis and producers felt that the proposed stories were overly similar to the first movie. One notable discarded script was titled “Troubleshooter,” where McClane would have confronted terrorists on a Caribbean cruise ship. However, this idea was abandoned due to its resemblance to Steven Seagal’s upcoming film, Under Siege. The connection between this script and Speed 2: Cruise Control has been debated for a long time, though it’s plausible that the concept may have served as inspiration.

Another potential script would bear similarity to Taken, with McClane’s daughter being kidnapped, while another involved terrorists hijacking Los Angeles subways, using an ending that eventually became the first Speed movie’s plotline. The chosen script was “Simon Says,” a project previously associated with Brandon Lee before his unfortunate death during The Crow filming. Originally intended for Lethal Weapon at Warner Bros., it was later acquired by 20th Century Fox, rewritten, and integrated into the Die Hard series.

Up until now, McClane’s escapades had usually been solitary, with his companions either unable to join or opting out of the action. However, it’s quite intriguing to see him having someone to interact with amidst the gunfights. Zeus isn’t a sidekick in the traditional sense; rather, he is an unusual ally. This dynamic works well due to Jackson’s convincing performance, which he claims mirrors his real-life persona, and the rapport he shares with Willis. The two engage in witty banter, exchange jokes, and fire off one-liners as they navigate the city. Interestingly, the role of Zeus was initially offered to Laurence Fishburne, who requested a higher salary for the part. However, fate had other plans. During the Cannes premiere of Pulp Fiction, the head of Cinergi, Andy Vajna, was so impressed by Jackson’s portrayal of Jules Winnfield that he offered him the role of Zeus instead. This must have been disappointing for Fishburne, as he had initially turned down the Pulp Fiction offer on the advice that he should only pursue lead roles. Vajna’s decision to cast Jackson breached an unspoken agreement, and Fishburne was adequately compensated for this. I admire Larry, but I believe they made the right call in choosing Jackson for the role.

McTiernan initially considered Sean Connery for the antagonist role in his film, but Connery found the character too wicked and possibly evocative of unpleasant memories from The Avengers. Interestingly, one of the villains, Roman, was portrayed by Ludvig Borga, a wrestler previously known in the WWF. This factoid would have been amusing if not for Borga’s contentious career post-acting, which has since been explored in depth on an episode of Dark Side of the Ring.

Most people are familiar with an alternate ending to the movie, where McClane confronts Simon and engages in a risky game using a rocket launcher. While some viewers find this sequence a bit harsh and potentially damaging to McClane’s character, others may see it as somewhat awkward. However, there was another ending that wasn’t filmed because it was abandoned during pre-production, possibly due to its similarity to the ending of Die Hard 2. In this unrealized version, McClane and Zeus would have appeared after the boat explosion, with Carver expressing regret over Simon’s escape. Instead of using the bomb from the elephant fountain to attempt John’s assassination in the tunnels, it would have been left on the terrorists’ ship, forcing Simon to solve his water puzzle, a situation humorously described as requiring a four-gallon jug. Despite finding this amusing, none of these endings truly impress me.

Hensleigh indicated that the initial part of the film, roughly an hour or longer, remains faithful to his original script, featuring new characters instead. The second half, however, underwent significant rewrites. This seems to account for the perceived decrease in quality, although the movie overall is well-made. It starts off with a bang and maintains high energy throughout its duration, but the final act, following the boat explosion, slows down the exhilarating pace somewhat.

In search of Deborah Chiel’s novelization of this film, I’m keen to discover more about its unique aspects. Unlike the movie, this book reportedly maintains a grittier atmosphere by delving deeper into John McClane’s psychological state during the events. It also expands on character backstories, includes additional scenes, and employs an alternate ending involving the “McClane Says” rocket launcher.

Interestingly, the book portrays Katya (character played by musician Sam Phillips) less frequently. A detail I missed due to my visual impairment is that she has throat scars, which might explain her silence in the film. It’s a fascinating observation for me, as most people recognize the Pacific Courier truck from the first movie but overlook the Atlantic Courier vehicle that appears before it is destroyed with the department store at the beginning of this storyline. Quite intriguing!

In the production of the movie, DHwaV encountered various challenges not directly related to filming. The script for the Federal Gold Reserve heist was exceptionally well-written and thoroughly researched, leading to Hensleigh being questioned by the FBI over potential involvement in illegal activities. However, it was the editors who found themselves in a predicament, as the initial cut of the film received an NC-17 rating. Consequently, several death scenes had to be toned down or modified, and even McClane’s fight with Targo was trimmed. Some alternate versions of these sequences can be seen in behind-the-scenes features. After ensuring they could secure an R rating, McTiernan added a last-minute love scene between Simon and Katya, but it proved to be rather insignificant. The film underwent even stricter censorship for its UK release in an effort to attract younger audiences.

Approximately a month before its release, a significant challenge emerged when the Alfred P. Murrah Federal Building in Oklahoma City was bombed by terrorists in real life. There were discussions about editing the movie or removing its opening scene due to audience sensitivity, but these changes were not made. The studio decided to stick with the original version of the film and its release date, arguing that it was a work of fiction completed before the bombing occurred.

Occasionally, a sequel fails to meet expectations while the third part compensates and innovates, maintaining its distinctive flavor. It was refreshing not to find McClane confined in a location, darting around his city, battling villains with a home advantage. This time around, we saw a hint of character development as McClane grappled with the consequences of his actions from the initial film, caught up with Holly, acknowledged his past mistakes by admitting to being an ass, and forged a new friendship after clashing for half the movie. The cinematography of New York was stunning and captured beautifully, complementing the smooth narrative flow, although our main antagonist didn’t make an appearance until around the 50-minute mark, and McClane didn’t take any lives until over an hour had elapsed. This installment aimed to shake things up a bit. Unfortunately, Al Powell was absent from this installment as Reginald VelJohnson was busy with his role on Family Matters (which I adore). However, he did contribute by hosting a special feature for the film.

1995’s DHwaV might have garnered mixed responses, but its enduring legacy as the highest-grossing film of that year is what truly matters to me. Admittedly, it has its flaws, and those absurd TV edits did provide a chuckle or two, but it undeniably left an indelible impression. For many, it was either the action, the sharp writing, the acting prowess, or simply revisiting John McClane in his natural habitat that made it special. Among all the sequels, I believe this one stands tallest and remains my top pick.

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2025-05-20 00:41