DIE HARD : A Hero’s Journey and the Egyptian Mythos
To the keen observer who has the EYE open, Die Hard (1988) reveals itself as more than a simple action movie. Beneath its surface lies an allegorical tale deeply intertwined with the ancient Egyptian mythos of Osiris. By examining its themes, characters, and narrative structure, one can uncover a tapestry of esoteric symbols reflecting the perennial battle between chaos and order, death and rebirth, and the Hero’s Journey toward Spiritual Enlightenment.
Die Hard directed by John Campbell McTiernan Jr. (born January 8, 1951) who directed another one of my favorites Predator (1987), is known to be one of the most famous action films and has been cited to be on the most popular Christmas films of all times. Today we’re are going to take a look at the deep esoteric symbolism and cinema expression/language in this film. I feel that it is a masterpiece of esoteric cinema and brings forward a very powerful allegory that is only revealed through the subtle use of symbolism, ensemble, mise-en-scene, and framing.
As we move forward, we will see that this movie is indicative of a Spiritual War taking place and how the symbolism brought forward is not only based upon ancient Egyptian Hero Cults but is also filled with masterful cinematography, expression and language.
The beginning of the movie starts out with our protagonist John McClane played by Bruce Willis, flying from New York to Los Angeles. John is the archetypal Solar Hero (Horus/Jesus), and as we move through the film, I will provide clear evidence of this fact. The film has a clear biblical influence and one example of that is the names in the film. Bruce Willis’s character, John McClane can be seen as connection to Saint John the Apostle who is one of Jesus’s 12 disciples. John the Apostle bears witness to divine truth, while McClane uncovers and exposes Gruber’s true intentions. His radio communications serve as a testimony to the outside world, even when others doubt him. The Apostle John’s writings highlight Christ’s sacrificial love. McClane’s self-sacrificing actions to save the hostages, despite his injuries and personal stakes, resonate with this theme. It is important to note here the sophistication of symbolic, metaphoric and allegorical overlap. When it comes to cinema things are not unilateral. Even know Bruce Willis’s name is John in the movie he also represents the allegorical Solar Hero archetype such as Horus or Jesus.
It is important to understand that the Pantheon of Egyptian Deities are all Aspects of the One Great Spirit. Horus, Ra, Set, Osiris as an example are all different aspects of the O.G.S and in the Solar Myth they represent the waxing and waning angle of the Sun and its annual cycles specifically in relation to the equinoxes and solstices.
In Egyptian mythology, Osiris represents the Principle of Spiritual Order, Fertility, and Kingship. Astrologically Osiris represents the winter solstice. Betrayed by his jealous brother Set, Osiris is dismembered and cast into the waters of chaos. This dismemberment serves as the mythological precursor to his resurrection and ultimate transcendence, a theme mirrored in the journey of John McClane. This theme of dismemberment will be a main point of the ubiquity between the film and the Mythos.
McClane, a New York police officer, arrives in Los Angeles estranged from his wife, Holly, and separated from his family, a metaphorical dismemberment of his own life. The skyscraper, Nakatomi Plaza, serves as a modernized version of the celestial waters where Osiris’ body was cast. Here, McClane is stripped of his shoes, forced to navigate the labyrinthine building barefoot and vulnerable. This vulnerability mirrors Osiris’ dismemberment, as McClane must reconstruct his fractured life, piece by piece, through trials and tribulations. The act of being barefoot itself holds esoteric significance, symbolizing humility and direct connection to the “sacred ground” of his trials. His blood-stained footprints throughout the plaza evoke the trail of a sacrificial journey, akin to the shedding of impurities on the path to spiritual ascension. This also pertains to the allegory of the Jesus story.
John is a common male name of Hebrew origin. It comes from the Hebrew name Yochanan, meaning “YHWH is Gracious” or “YHWH is Merciful.” The name evolved through Greek (Ioannis), Latin (Ioannes), Old French (Jean), and Middle English (Iohn).
St John by Peter Paul Rubens (c. 1611)
The journey that John is undergoing from the east to the west is indicative of the Solar Path (Hero/Horus/Jesus) from East to West, and the Sun’s journey into the Underworld each day when the sun SETS (Sut/Set) but it is also about the annual cycles, when the sun move from the northern hemisphere of the Tropic of Cancer to the southern hemisphere of the Tropic of Capricorn and back again. This idea of Westing symbolizes Death, but also it can represent a reconnection to Spirituality or the Spirit Realm. McClane’s journey throughout the building can be seen as a metaphorical descent into the Underworld (Darkness) and ascent (Resurrection) back to the world above (Light). His perseverance and eventual success mirror the sun’s (Horus/Jesus) daily and annual journey through the night and southern hemisphere and its triumphant return in the morning and the New Year.
I would like to bring attention to the bear symbolism before we move forward. Which is multifaceted, and it is important to note here that when I’m speaking about the deeper esoteric symbolism it may not be the direct intention of the creators of this film that it is more of a Synchromystic manifestation. On one level it represents the Stellar Mythos and the importance of the Northern Polar constellation of Ursa minor and the Great Year as it connects directly to the most ancient Hero Mythos of Horus and the six glorious ones or the Sacred Seven. In my point of view the bear being placed in the black limo symbolizes that this ancient knowledge of the Stellar Mythos has been lost and remains locked in a coffin. That rather than having the Primacy in the Northern hemisphere which relates to Materialism, the Bear being placed in the coffin is an association to Primacy in the Southern hemisphere which is about Spiritualism.
John McClane pulls the teddy bear with the red scarf from the luggage compartment above where he was sitting on the plane. The Red Scarf is a motif for blood. This bear is extremely symbolic which I have talked about time and time again in all of my earlier works, this bear symbolism is found in many movies such as eyes wide shut, the golden compass, revenant, the shining etc… The most important connection is The Hunt for Red October with Alec Baldwin. Both movies were directed by the same person, John McTiernan. John carries the bear around the airport. Argyle also makes notice of the bear and says “nice bear”. John decides to sit in the front seat where the bear is chauffeured around by Argyle in the back of the limo as if he is the main character. They put emphasis on this fact by showing a scene with the bear being reflected in the rearview mirror and in some shots, they have the bear in between both John and Argyle. On another level the bear represents John as a father and protector, because of his absence in his family life. He brought the bear as a symbol proxy for his presence. Argyle says “I know a few mama bears we can hook up with” and the frame switch so we see the bear in the background then Argyle realizes that John is married. This all pertains to the discord between John and Holly.
Another interesting fact is that it is a stuffed animal meaning that this is not the real stellar myth that it is a proxy for the real thing. It is also important to note that politically which is far less esoteric it pertains to the Trump bear. And as seeing Trump was a prominent background actor at this time, I feel that that is not too much of a stretch however I have not been able to confirm any sources for that.
The emblem of the Lincoln is a direct symbol of the Zodiacal Cross/Crux that pertains to the solstices and equinoxes.
When John McClane exits the plane, we see a masterful framing also known as cinema expression where he is placed on the left side of the screen, which implies this casual and off duty expression. This is also emphasized by the use of cigarettes which we see later in the film. When we are first introduced to Argyle, he is placed on the right of the frame while John is on the moderate left, Argyle is on duty dressed in formal attire while John is casual and off duty with a flannel and loosely worn jacket. We also see a cop in the extreme right position behind Argyle which is Conservative Idealism.
To further illustrate this point, the scene changes and we find the (insert name here – owner of the Nakatomi Plaza) comes in from the right side of the camera frame representing on duty and formal expression and he buttons up his suit preparing for his speech. It is not until he greets the party guests that he actually takes the center of the screen.
Also take note that the only person the Antagonist Hans Gruber played by Alan Rickman kills is Joseph and, in the title credits, his name in placed in this scene with Jospeh beside it, a bit of foreshadowing to his death later in the film I feel.
This is also further illustrating this mode of cinema expression, John McClane’s wife Holly Genaro, who comes into this scene in the background on the right side of the frame from the elevator, shows that she is on duty performing her task for the business carrying paperwork. The camera slowly focuses on her in the background which is masterfully done as she walks right to left across the frame.
In the scene where we see that the sun is setting behind Holly Genaro as she lays down the family picture. This expression and symbolism of the sun setting is directly correlated to the Egyptian Hero Myth archetype of Sut/Set. In this scene she slams the photograph facedown, which is not only a connection and expression of the discord between her and her John, but also is indicative of the path and journey which John (Bruce Willis) is about to undergo into the underworld mirroring the suns position and path in the background of the scene and movie. This also pertains to the buildup of the tension of the protagonist and antagonist because this photo being facedown saves her at first when Hans Gruber is in the office but then later is the piece needed for Hans to take Holly hostage at the end of the film.
Holly Genaro, in the Egyptian tradition, represents Isis who goes the journey to help resurrect her love, Osiris and fashion him a new Golden phallus, Osiris moves from being the ruler of the material world the ruler of the spiritual realm. Holly has been living in L.A. for 6 months which takes us back to the Summer Solstice, again showing us the connection to the Solar Path. Though initially distant and independent, Holly represents the ultimate prize for McClane’s efforts. Her very name, Holly, evokes sacred connotations, suggesting a sanctified union that McClane must earn through his trials.
It is important to take note to her name as well Holly, In Christianity, Holly symbolizes Christ’s crown of thorns and his blood through its red berries. The evergreen symbolizes life after death. The Druids and Celts believed that holly symbolized eternal life because it stayed green throughout the winter. Celtic chieftains wore holly wreaths as crowns for good luck. The Romans gave holly as gifts at Saturnalia, their winter solstice celebration. But what is most important is to understand that holly means holy. The name Gennaro is an Italian boy’s name that means “January” or “of Janus”. It comes from the Latin name Januarius, which is derived from the Roman god Janus, the deity of beginnings and transitions. Gennaro is also an Italian surname that comes from the personal name. It’s associated with the cult of Saint Januarius, the patron saint of Naples, who was a bishop in the 3rd century. January is seen as the new birth or new year in the Gregorian calendar. This is due to the fact that the sun starts moving north into the Tropic of Cancer after the winter solstice. But the prefix Gen is what should be noted to be correlated to the Generative Principle much like Isis’ association with fertility and rebirth. By saving Holly and their family, McClane symbolically reclaims his role as the Osirian king, restoring order to his fragmented existence.
At the end of the movie John uses the Christmas tape which is Sprigs of Holly Tape and Holly’s wristwatch, a gift symbolizing corporate attachment, becomes an esoteric object when it binds her to Gruber in the climactic moment. McClane’s act of unclasping it to free her parallels the severing of illusory ties to materialism, akin to Isis freeing Osiris from the entanglements of the mundane. Which was all foreshadowed at the beginning of the movie when Elis mentions the Rolex.
When John finally meets his wife Holly, she asks if he has met everyone and Joseph Yoshinobu Takagi states “oh we have been sticking him with spears” a direct correlation to Jesus’s crucifixion and death, he also states that holly “she was made for this business…tough as nails” as a connection to the nails that are used for the crucifixion.
This is further illustrated with the Cross/Crucifix Shadow Between John, Joseph, and Eilis and slightly above Santa. Where John walks directly through the Cross. Another thing to note is the flannel that john is wearing, it is a symbol of disconnection and dismemberment. This is also a reference to the suffering John must endure for his resurrection and his reconnection to the sacred feminine principle. There is a huge theme in this film about the discord between John and Holly and one of the things that is reconnected or remembered is their deep love for each other.
I find it significant that there is a Santa and the Egyptian statue/figure when Joseph and John walks into this room. In my view this is a way of expressing the deeper connections of Christianity to its origins in Egypt. Also, when Holly speaks to Lucy (the daughter) she says “we’ll see what Santa and mommy can do” Santa here is a reference to John being the Solar Hero.
There are a few mentions of Pearl Harbor such as when Joseph Takagi says “Pearl Harbor didn’t work out so we got you with tape decks” this is a reference to Pearl Harbor subtly foreshadows the impending “attack” on the Nakatomi Plaza vault by Hans Gruber and his crew. The “tape decks” signify this rise, showcasing Japan’s ability to conquer global markets without the need for military might. The password for the Vault is “Akagi” which reflects a moment of revealing or breaching a powerful construct, much like unlocking alchemical secrets in esotericism and hidden Knowledge which comes about with Theo or Theology. Side not here, the Name Theo means God, and he is the hacker who cracks the 6 locks on the Vault. The use of a historical reference implies that breaking into the vault is not just a crime but a reference to the IJN Akagi which was a Japanese aircraft carrier pivotal in the attack on Pearl Harbor.
Earlier on when John first arrives at the party there is a relevant correspondence to the connection of the Reds champagne which John proceeds to drink and then in discussed gives it back to the waiter. This in my point of view is a direct jab at the drinking of wine as a symbolism for the blood of Christ. It also shows that John stays sober during this event where is everybody else is hammered. And if you take a very close look at the waiter’s plate with all the other champagne glasses will see that his is the only one colored red when he sets it back down.
Another connection to the solar cycle, is the vehicle which the terrorists used to infiltrate the basement of Nakatomi Plaza. Its logo is that of Pacific Courier, which is a sun with the horizon line drawn through the middle. To add more evidence to this the scene has the sun setting in the background when we first see this vehicle and logo. The word Pacific means “peacemaker” this can be correlated to the hero himself as the maker or Courier of peace if he achieves the goals and successfully goes through his trials and tribulations but the placement of the logo being on the terrorist truck is a trojan-horse a false “peacemaker” or a ruse similar to Set tricking his brother Osiris by inviting him to a party and then luring him into a specially crafted coffin that fits him perfectly, slamming the lid shut, and throwing the chest into the Nile River, effectively killing Osiris; this act of deceit was driven by Set’s jealousy of Osiris’s power and desire for the throne.
John (Bruce Willis) rides in a black limo the black limo which symbolizes the tomb or coffin of Osiris or in Freemasonic tradition Hiram Abiff AKA the tomb of the sun, where the sun is resurrected and reborn back into the northern hemisphere after the winter solstice. This is further illustrated by the fact of the sun setting in the background of the scene when the limo pulls up to the Nakatomi Plaza (Fox Plaza). The limo is directly beneath the sun where the sun will reside for three days. The tree takes the center frame with the sun setting in the background. This tree is a symbol of the Spiral Ritual (Spi-ritual) and a connection to Christmas and winter solstice, the tree itself has a spiral shape to it.
Another important connection with the Black Limo is with Argyle and the bear. Argyle listen to Stevie Wonders Skeletons from his (1987 album Characters) in the garage. Later when we are introduced to Sgt. Al Powell, John says “who is driving this car Stevie Wonders?”. The lyrics “skeletons in your closet” metaphorically references concealed truths or misdeeds, hinting at the idea of guilt or shame. The song emphasizes the inevitability of these skeletons emerging, representing the idea that truth has a way of surfacing despite efforts to suppress it. This aligns with themes of justice, karma, and the natural unraveling of deceit.
The Cop Al Powell is crucial to John McClane’s character, He acts as a and anchor for McClane, particularly when McClane is at his lowest, questioning his worth as a father and husband. Powell’s own backstory, with his past regret over shooting a child, also mirrors McClane’s internal struggle and creates a strong bond between them. This relationship emphasizes the themes of redemption and reconciliation, highlighting the importance of human connection even in dire circumstances. Al Powell could be interpreted as “the noble and bright son of the eminent one” or “the wise counselor from a distinguished lineage,” which adds a layer of thematic depth when considering Powell’s role in the film. The motif is “as above, so below”, Al is the Pillar of Boaz to Johns pillar of Jachin. Al also means “out of” or “relating to”. Powell is a surname that means “son of Hywel”. It is a patronymic name of Welsh origin, Hywell means “eminent” or “prominent”. It can also mean “far seeing” or “well-seen.”
We first meet Elis he’s doing coke off of Holly’s desk, this is also a great example of that on duty and off duty cinema language. When John McClane enters and is greeted to Elis, he immediately is on duty on the screen and says “you missed some” noting that he is a very observant detective and that he is on duty which is also reflected in the framing. The name Eli means “ascent” or “above”. The name is derived from the Semitic deity El, which is used in the Bible as the name for the god of the Israelites. Again, another reference to biblical theology and literature. Later on, when he tries to negotiate with Hans he takes on the archetype of Judas. But he also receives a Coca-Cola (cocaine) which is a subtle but funny use of symbolism for his character.
The Nakatomi Plaza, as stated before, is the real-life 20th Century Fox studio develop by billionaire Marvin Davis. This building is used in numerous amounts of movies such as Speed, Lethal Weapon 2, Airheads, Motorama, Cyber Tracker 2, and Max Headroom. Former President Ronald Reagan had his offices on the 34th floor of the building for several years after leaving public office. It is a 34-story building, though on the cover of diehard it states that the building is 40 stories, and in the lore, it states that it’s 35 stories high.
In the movie we see that the 35th level is actually the roof. The important significance of this is that the party is taking place on the 30th floor/level, the 31st floor/low level is conference rooms, the 32nd floor/level is under construction, and the 33rd floor is the computer room. (Bruce Willis was exactly 33 when Die Hard was released.) These 3° are important connection to the allegory of Jesus and the Freemasonic tradition. In the Scottish Rite of Freemasonry, the 33rd° is known as a Master Mason, which is different than the York Rite which only has 3°. This symbolism is a direct connection to the natural phenomenon of ice melting at the 32nd°, which is symbolically correlated to us as the initiate still having our care frozen until we have thawed the heart-based intelligence or compass/compassion/empathy by way of the 2nd° or middle chamber. 33 is also the age which Jesus was crucified and resurrected. The age of 33 is correlated to the time period where our brain chemistry also changes and in the esoteric mystery schools is seen as the age of Enlightenment.
This idea of the 2nd and 32nd floor being under construction is a direct reference to the process of the introspective work which must take place within each and every one of us. It is the work on ourselves specifically should the shadow work, which must be done to thaw our heart-based consciousness in order to evolve. This is also reflected on the second floor the building where the terrorists shoot the L.A.P.D. RV with the rocket. John then proceeds to use the C4 strapping a computer monitor to the chair and dropping it down the elevator. This causes a major explosion on the second floor, or 2nd°. The 2nd° is indicative of the fellow craft degree of the York Rite of Freemasonry, which is also corresponded to the 32nd° of the Scottish Rite of Freemasonry. This 2nd° is known as the middle chamber and to pass it one has to resurrect their true care/empathy. In some rituals this process is done by the way of fire, and if correlated to the 32nd° this is the temperature which ice melts as stated above. I am making a direct correspondence between the 2nd° and 32nd° and telling you that this is symbolically the same process being shown cinematically.
This labyrinthine structure of Nakatomi Plaza mirrors the underworld (Duat) through which Osiris must pass to achieve resurrection. Each floor represents a new challenge or gateway, testing McClane’s resourcefulness, courage, and endurance. From crawling through air ducts to outsmarting Gruber’s henchmen, McClane’s journey is a microcosm of the soul’s journey through the Duat, the Egyptian underworld.
McClane’s use of wit and improvisation, such as writing messages on the bodies of his defeated foes (“Now I have a machine gun. Ho Ho Ho”), echoes the symbolic power of language and magic in Egyptian rituals. These actions reflect the necessity of cunning and adaptability for overcoming chaos.
The air ducts themselves function as symbolic birth canals, through which McClane, stripped of external defenses, must traverse to emerge renewed. Esoterically this can be a reference to the Middle Chamber in Freemasonry. Yet, they also align with the concept of the Middle Chamber found in esoteric traditions, a sacred space symbolizing inner transformation and the passage from ignorance to enlightenment. As McClane navigates these narrow, confined spaces, he confronts his own fears and limitations, much like the initiate passing through the trials of the Middle Chamber in Freemasonry.
The air ducts’ oppressive darkness and restrictive structure mirror the challenges faced by the soul seeking enlightenment. The flickering light within these ducts represents the faint but persistent guidance of higher consciousness and the Torch of Liberty.
The shattered glass on level 33 represents how McClane must navigate serves as an alchemical trial, where pain and perseverance lead to purification. the shattering signifies the breaking down of the old, impure self, allowing for the reconstruction of the purified, transcendent individual. The shards symbolize the fragmented nature of his existence, mind, and emotions, which must be transcended to achieve wholeness. But this shattered glass is also a motif of fragmentation and dismemberment which again correlates to the Osiris Mythos ubiquity. This was all foreshadowed in the conversation with the deputy Chief of Police “Dwayne T Robinson”. As a surname, Dwayne is the Anglicized form of the Irish surname O’Dubhain or Dubhan. In Irish, dubh means “black”. And Robinson Broken down to the green Language, Rob In So(u)n. The Sun that has been robbed thus the Black Sun… Rob is to take property by violence or threat of force. Which is directly correlated to his occupation of being an order follower.
Cowboy Archetype and the use of Western and eastern motifs. John McClane embodies the archetypal “cowboy” hero in the sense of a rugged, independent, cigarette smoking figure fighting for justice in a chaotic, lawless environment. He is the lone, self-reliant figure taking on the corrupt system represented by Hans Gruber and his team. His attitude, demeanor, and actions align with classic Western tropes: a man of few words, pragmatic solutions, and a focus on individual action. He’s not bound by bureaucracy or the rules of the corporate world, much like a cowboy riding into a town to restore order.
The Nakatomi is Japanese in name, style, and culture. Die Hard is both a literal and symbolic confrontation with the broader, globalized world (embodied by Nakatomi Plaza and Gruber). This global setting reflects the encroachment of Eastern (corporate, globalized) power into Western (American) territory and vise versa. Western filmmakers have long drawn from Eastern visual aesthetics, particularly in the realms of composition, color, and symbolism. Many Western films incorporate the minimalist approach often found in traditional Chinese or Japanese art, favoring clean lines, symbolic use of nature (mountains, water, trees), and an emphasis on balance.
9/11 Connection (Predictive programing) At the beginning of the film when John is on the plane, the passenger next to him makes a remark about John being not liking to fly, he tells John the secret to air travel is to “take off your shoes and socks and to walk around on the rug barefoot and make fist with your toes. I know. It sounds crazy. Trust me. I’ve been doing this for 9 years.” After this interaction the plane lands and John proceeds to get up which the passenger notices his Beretta 9 mm and John remarks “it’s okay. I’m a cop. Trust me. I’ve been doing this for 11 years.” Now it is true we can draw parallels to this with the factual evidence of 9/11 predictive programming or of a divintory Syncromystic manifestation. We know that this reference is also to the cultural meme and numerological symbol for emergency, and law enforcement. This of course overlaps with the real dark cult ritual of 9/11 and why that date was chosen. John McClane’s success juxtaposes the ineptitude of police and the FBI, similar to narratives criticizing institutional failures surrounding 9/11. Nakatomi Plaza represents the height of capitalist ambition and technological “progress”, and economic dominance. Its literal elevation makes it a fortress in the sky, embodying the power and hubris of global corporations.
The terrorists in Die Hard appear to have ideological motives at first, echoing the idea of terrorism as a political act. However, their true goal is financial. A subversion of the expected. One of the most persistent theories involves unusual stock market activity prior to 9/11, specifically “put options” placed on airline stocks like United Airlines and American Airlines, whose planes were hijacked. Put options are bets that a stock will decrease in value. Many suggest that individuals with foreknowledge of the attacks profited from the subsequent drop in these stocks. Also, a day before the attacks, on September 10, 2001, then-Secretary of Defense Donald Rumsfeld announced that the Pentagon was unable to account for $2.3 trillion in transactions. Larry Silverstein, had recently taken out a large insurance policy on the towers, which included coverage for terrorist attacks. After 9/11, Silverstein sought to claim double the policy amount, arguing that the attacks constituted two separate events (one per tower). He ultimately received a settlement of approximately $4.55 billion. Another theory revolves around the large quantities of gold reportedly stored in the vaults beneath the World Trade Center. Some allege that much of the gold was mysteriously “missing” or removed before the attacks, hinting at foreknowledge.
The Tower Card of the Tarot strongly resonates with the themes of Die Hard: upheaval as a catalyst for liberation and renewal A.K.A. ORDO AB CHAO. We can also see the same symbolism when the top of the plaza blows up, resonating with the imagery of the Tower Card. The Nakatomi Plaza mirrors the tall structure depicted in the card, often shown being struck by lightning. This sudden strike, symbolic of catastrophe and revelation, finds its parallel in the arrival of Hans Gruber and his team of terrorists, whose attack shatters the festive normalcy of the Christmas party. This Lightning strike is also the Lightning Bolt Path of the Kabbala. The destruction of the tower itself becomes a metaphor for breaking free from the toxic influences of greed, corruption, and corporate hubris, themes embodied by both the terrorists and the Nakatomi executives.
The climactic scene where John jumps off the roof with the firehose tied around his waist and when Gruber falls from the tower echoes the card’s depiction, although one is tethered which implies hope for a new order and the other is not. The Tower also represents transformation and revelation, unmasking illusions and leading to unexpected growth. This transformation is evident in John McClane’s journey of rediscovery, as he confronts his estranged relationship with his wife, Holly, while reaffirming his values, principles and courage.
The FBI agents Johnson and Johnson are portrayed as overzealous, reckless, and disconnected from the humanity of the situation. They represent the militaristic, impersonal side of government authority, reinforcing the public’s mistrust in institutions. This taps directly into the cultural mistrust of institutions that was prevalent in the 1980s, particularly in the wake of the Vietnam War, Watergate, and widespread political disillusionment.
The identical last names “Johnson” is Freudian phallic symbolism, often tied to dominance, power, and masculinity. The duplication of their name further emphasizes the absurdity of their machismo, as they’re essentially interchangeable and devoid of individuality, representing a monolithic, impersonal authority. Agent Johnson states “No relation” but they are identical. Their exaggerated recklessness and detachment from human concerns play into Freudian themes of unchecked primal impulses (id) and the absence of a guiding moral compass (superego), contrasting sharply with McClane’s resourceful and principled heroism. This phallic symbolism is all connected to the Osiris Mythos. They Nakatomi Plaza explosion is form of phallic dismemberment alongside the 2 Johnson’s being blown up in the helicopter.
Their fate also reinforces the film’s broader critique of bureaucratic hubris and arrogance. The racial contrast between the two Johnsons might symbolize a superficial attempt at diversity within powerful institutions like the FBI. However, they have unity in Incompetence. It reinforces themes of homogenized authority, institutional dysfunction, and the superficiality of diversity within flawed systems. The esoteric side of this is the they are black and white symbolizing the polarity and duality like a perverted version of the yin/yang. It is also a symbol for not knowing the difference between Right and Wrong.
As they swoop in for their helicopter assault on Nakatomi Plaza, one of the Johnsons (played by Robert Davi) quips, says “Just like Saigon, eh?” Saigon (now Ho Chi Minh City) was the capital of South Vietnam during the Vietnam War and the site of the U.S. military’s final, chaotic withdrawal in 1975. The fall of Saigon is often viewed as a symbol of hubris, and the ultimate failure of American interventionist policy. The Johnsons embody bureaucratic arrogance and overconfidence, much like the attitudes that led to U.S. entanglement in Vietnam. By comparing their current operation to Saigon, the line suggests they view themselves as soldiers in a high-stakes, heroic operation, oblivious to the futility and collateral damage of their actions.
Getting back to the Hero Mythos. Set, the archetype of chaos and destruction, finds its counterpart in Hans Gruber. Gruber’s calculated plans mask his true nature as an agent of disorder, seeking to overthrow the established order of the Nakatomi Corporation. His meticulously planned heist is emblematic of Set’s betrayal, driven by greed and the desire for dominion. The clash between McClane and Gruber symbolizes the eternal struggle between Osiris and Set, a conflict that extends beyond mere physical combat into the realms of moral and spiritual fortitude.
The name Hans means “God is gracious” or “Gift from God” and is a pet form of the name Johannes. It originated from the Hebrew name Yochanan, which also means “God is gracious”. The name became prominent during the Viking Age, when Norse warriors would use it to symbolize their belief in divine grace in battle. Hans is more common in Europe, particularly in Germany, Norway, and the Netherlands. Hans is an alternative form of the word Hanse, which means “merchant guild”. In Hindi, the word Hans has multiple meanings, including “swan or goose”, “noble or liberated soul”, “the sun.” After doing further research I found that, Johannes, the full version of Hans, can be used as a euphemism for penis. Usually exclusively in a set phrase “Wie die Nase des Mannes so sein Johannes” (a man’s dick is as big as his nose). Which I find ironic considering Alan Rickman does have a slightly larger nose and the Goose neck is also a symbol for the shaft of the phallus.
The name Hans Gruber comes from the movie “Our Man Flint” by James Coburn and the book Nothing last forever which is what the film is adapted from.
Each one of these definitions of his name applies very well to the themes of the movie. The main one to pay attention to is liberated soul and the sun. Set is also an archetype for the sun, and through these trials and tribulations the soul is liberated.
When John and Hans first meet, we see the use of the Dutch camera angles, also known as tilted or oblique angles, which are shots where the camera is slanted, creating a diagonal horizon line. These angles are often used to convey unease, tension, betrayal, or a sense of disorientation. This framing technique is used a few times in the film such as:
- The tilted framing as McClane crawls through tight spaces adds claustrophobia and tension.
- As McClane leaps from the rooftop, the Dutch angles amplify the sense of vertigo and chaos, making the moment more thrilling.
I found great esoteric significance in the scene where Hans is pretending to negotiate with the LAPD. He rants off a bunch of groups and individuals that he wants read one of these groups he names as the Asian Dawn movement which later he says he heard about them in time magazine. It’s esoterically we could see the significance of the connection to the rebirth of the rising Sun. The release of the Asian Dawn means the resurrection of Horus.
I think it is important to bring attention to “Ode to Joy,” which was composed by Ludwig van Beethoven as the choral finale of his Ninth Symphony in D minor, Op. 125, is one of the most recognized pieces of classical music. Its melody is set to Friedrich Schiller’s 1785 poem “An die Freude” (Ode to Joy), celebrating universal brotherhood, joy, and unity. Beethoven’s Ninth Symphony, completed in 1824, broke new ground by incorporating vocal soloists and a full choir into a symphonic structure, revolutionizing classical music.
In Stanley Kubrick’s dystopian film, A Clockwork Orange, the “Ode to Joy” takes on a deeply ironic and sinister tone, deviating from its original message of unity and joy. It is hummed by the protagonist, Alex DeLarge (played by Malcolm McDowell), particularly during his violent escapades. This juxtaposition of sublime music with graphic ultraviolence emphasizes the film’s themes of moral decay, free will, and manipulation.
One pivotal use of Beethoven’s music in the film is during Alex’s participation in the Ludovico Technique, an experimental form of aversion therapy designed to condition him against violence. The “Ode to Joy” is played as Alex is subjected to scenes of brutality, effectively linking Beethoven’s music with feelings of revulsion and helplessness. This corrupts Alex’s profound love for Beethoven, especially the Ninth Symphony, symbolizing the loss of his personal freedom and identity.
This ironic usage of Beethoven’s uplifting masterpiece is significant because it contrasts sharply with the film’s context. The “Ode to Joy” celebrates unity and fraternity, yet here it underscores an act of theft subverting our expectations for the scene. The music elevates the moment, giving the scene a sense of grandeur and importance, as though the villains are relishing their perceived victory. The choice of Beethoven aligns with Hans Gruber’s character as a cultured, intelligent antagonist. Unlike typical action-movie villains, Gruber exudes charm and refinement, which is mirrored in the high art of Beethoven’s music. His appreciation of such a piece adds depth to his persona, making him more than just a one-dimensional villain. We hear him humming this song throughout the film.
Hans Gruber and his team finally breach the Nakatomi vault, Beethoven’s “Ode to Joy” swells triumphantly, transforming the act of theft into something resembling a symphonic celebration. The triumphant notes of “Ode to Joy” mirror his perception of the moment as a work of art, perfect, calculated, a miracle. Blurring the lines between heroism and villainy. The music elevates the scene into something almost mythic, as if Gruber’s crime is not merely a theft but a divine intervention. Which play into the statement from Hans “You asked for the miracles, Theo. I give you the FBI.” The clever use of the Light behind Hans as the Vault opens also gives us this sheer radiance of hope and triumph.
Another point about the sound is the elevator bells.
Act 1 – Introduction: The bell’s chime accompanies early scenes of normalcy, such as Takagi leading McClane to Holly’s office. Here, the bell is mundane, part of the corporate humdrum.
Act 2 – Disruption: The first major escalation comes when Gruber and his team take over. The elevator’s ding heralds their arrival as they bring chaos to the previously controlled environment. The elevator bell rings when Tony’s body is sent down to the lobby with the taunting message: “Now I have a machine gun. Ho-Ho-Ho.”
Act 3 – Climax: The elevator bell becomes a harbinger of confrontation, signaling McClane’s ambushes or the villains’ strategic moves. The elevator bell chimes during Gruber’s feigned interaction with McClane, where Gruber pretends to be a hostage. The elevator bell signals Gruber’s move to send the hostages to the roof as part of his escape plan, knowing it will be rigged with explosives. The elevator bell rings as Gruber falls to his death after McClane uses the environment to his advantage in their final showdown.
The elevator bell is a constant auditory reminder of the verticality of the action and rising stakes as characters ascend or descend between floors. This motif underscores the film’s structure, guiding the audience through its rising and falling rhythms.
We see the elevator motif used in other great films such as:
The Shining (1980): The elevator in the Overlook Hotel, famously spilling blood in a surreal vision, serves as a metaphor for the building’s haunted history and a portal to the past’s horrors.
The Matrix (1999): The elevator used during Neo’s heist with Trinity and Morpheus becomes a vehicle for ascending toward enlightenment and rebellion against oppressive systems.
Drive (2011): The elevator scene with the Driver and Irene juxtaposes intimacy and violence, highlighting the elevator as a confined space where emotions and actions are heightened.
At the end of the film, Hans Gruber’s fall from the skyscraper, a descent into the abyss, signifies the ultimate defeat of Set. The image of Gruber clinging to Holly’s wristwatch before plummeting to his demise is rich with symbolism, representing the triumph of timeless, sacred principles over temporal greed and chaos. The film’s conclusion, with McClane and Holly embracing as they leave Nakatomi Plaza, symbolizes the sacred union of Osiris and Isis. This reunion restores harmony and balance, not only within their relationship but also within the microcosmic world of the film. The act of leaving the plaza, a space of chaos and destruction, signifies a return to the ordered world, now renewed by McClane’s triumph. McClane’s symbolic rebirth is further reinforced by the emergence of light at dawn, as he and Holly leave the tower. The rising sun, emblematic of Horus and cosmic renewal, blesses the hero’s triumph and signifies the restoration of Ma’at (Cosmic Order).
Viewed through the lens of the Osirian mythos, Die Hard becomes more than an action-packed spectacle; it transforms into a modern allegory of death, rebirth, and the restoration of cosmic order. By embodying the trials of Osiris, John McClane serves as a contemporary hero whose journey echoes the timeless principles of the Egyptian Mysteries. The skyscraper becomes a temple, the villain’s avatars of chaos, and the hero a seeker of truth and unity. In the words of the sages, “As above, so below” a reminder that even in the unlikeliest of stories, one may find reflections of the eternal truths.
Obviously there’s so much more to this movie, and for those who have the eyes to see they will unveil a plethora of in-depth symbolism, cinema language, cinema technique, and ancient wisdom being displayed through this film.
Two and I like to just give a 12 point correlation to Joseph Campbell’s hero myth, to show how this can be connected to many different advancements of the hero’s journey.
The Hero’s Journey – Die Hard is a remarkable example of the stages of the Hero’s Journey, which was made popular by the works of Joseph Campbell’s, however its origins in in ancient Totemic Cults and is nothing new to the culture of humanity. `
1. Ordinary World – John McClane, a New York cop, is shown traveling to Los Angeles to reconcile with his estranged wife, Holly. This establishes his “ordinary world” of personal turmoil and emotional distance, setting up the stakes for his journey.
2. Call to Adventure – At the Nakatomi Plaza Christmas party, terrorists led by Hans Gruber take over the building, taking the guests hostage, including Holly. This external conflict draws McClane into action.
3. Refusal of the Call – Initially, McClane hides and assesses the situation, unsure of how to act alone against a well-armed group. His reluctance reflects the hesitation common to this stage.
4. Meeting the Mentor – While McClane doesn’t have a traditional mentor, he gains guidance and moral support through his radio conversations with Sgt. Al Powell. Al acts as an emotional anchor and provides tactical and psychological reinforcement.
5. Crossing the Threshold- McClane takes his first decisive action against the terrorists by killing one of Gruber’s men and sending the body down to the party with the taunting message: “Now I have a machine gun. Ho-ho-ho.” At this point, there’s no turning back.
6. Tests, Allies, and Enemies – McClane faces multiple challenges: Fending off terrorists as they hunt him throughout the building. Gaining Al Powell’s trust via radio. Dealing with unhelpful external forces like the FBI and LAPD, which complicate his efforts. Battling exhaustion and injuries. Each encounter tests his resolve, wit, and physical endurance.
7. Approach to the Inmost Cave – As the climax nears, McClane infiltrates deeper into the building, discovering Hans Gruber’s ultimate plan to steal $640 million in bearer bonds. He faces the realization that he’s the only one who can stop Gruber and save the hostages.
8. Ordeal – The ordeal peaks when McClane faces Hans and his remaining henchmen in a direct confrontation. Despite being outnumbered and wounded, McClane uses cunning and resourcefulness (like taping a gun to his back) to overcome the immediate threat.
9. Reward (Seizing the Sword) – McClane defeats Hans and his men, saving Holly and the other hostages. His reward is both external (reunion with his wife) and internal (reaffirmation of his role as a protector and husband).
10. The Road Back – With the hostages free and the building secure, McClane emerges battered but triumphant. However, there’s one final confrontation when Karl, one of the terrorists, re-emerges. This test is quickly resolved by Al Powell, symbolizing McClane’s earned alliance.
11. Resurrection – The “resurrection” phase occurs when McClane reconciles with Holly, signaling his growth and redemption. Their shared ordeal has reignited their bond, suggesting a potential mending of their strained marriage.
12. Return with the Elixir – McClane’s journey ends with him and Holly leaving together, symbolizing not just survival but personal transformation. The “elixir” he brings back is his restored relationship and renewed sense of purpose.