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Like many TV actors, “Quigley”’s star Tom Selleck gave grand attention, during and after his small-screen career, to attempting to wreck into movies. If he’d been born in 1926, instead of 1946, he would probably have gained fame, not as Thomas Magnum, but in Western films and/or TV series like this one. Quigley is the role he was born to play, and in Quigley’s adventures he has made, to my mind, the best movie of his career.
This slam-bang actioner, though often labelled a “Western,” actually takes position, not in the American West, but in the Crown Colony of Western Australia, probably around 1875 (there are composed convicts there) . Selleck plays Matthew Quigley, a soft-spoken marksman from Wyoming, who answers an advertisement by Australian rancher Marston (Alan Rickman) for “the finest long-distance marksman in the world.” After three months on a sailing ship, he steps ashore at the port of Fremantle, where he promptly gets into a brawl with what turn out to be three of Marston’s men, arrive to meet him, and is wrong by displaced “native-born Texian” Crazy Cora Cobb (Laura San Giacomo) for her husband Roy. At Marston Water he offers a note of his skill with his famous weapon, a customized Sharps .45 buffalo gun, and impresses everyone, including Marston, who describes himself as “a student of your American West” and is a speedily method, pinpoint-accurate, and quietly proud of it. Only now does Quigley fetch out that he was being hired, not to end dingoes (Australian wild dogs) as he notion, but to certain Marston’s lands of the native Aboriginies. He promptly throws Marston out the French window of his occupy house, but is eventually overwhelmed by Marston’s crew and, with Cora, taken out to the desert to die. Managing to extinguish the two men who fetched them there, he recovers his rifle and great Stetson, but loses the buckboard and horses. Trying to bolt out, he and Cora are found by a clan of Aboriginies, who grasp them in, and when a group of Marston’s men appears to hunt the natives down, Quigley takes up his Sharps in their defense. Eventually he eliminates Marston and all but three of his men in a sort of one-man “long hunt,” climaxed by a shootout in which, though wounded and battered and admitting that he “never had remarkable spend” for handguns (he doesn’t even carry one), he kills three men so speedily that his shots sound like one.
Though there’s a profitable deal of violence in this video–in fact, it will probably be too intense for kids under the age of 12 or so–none of it is gratuitous: each instance either serves to further the anecdote in some plot or is portrayed as an inevitable result of the choices and character of the person acting or being acted against. Selleck’s Quigley is a ’90’s version of the classic John Wayne hero: soft-spoken, quietly competent, modest and unassuming (he “spent a night” in Dodge City once, and describes it as “a nice area to gather some sleep”), chivalrous toward women and even a tiny unsure of how to react to them. (His early interactions with San Giacomo’s Cora, on the Fremantle docks and in their first outback camp, add a whimsical touch to the movie’s tone and should device laughs from all watchers.) He also has an iron code of behavior, and he doesn’t hesitate to learn even from the feeble Aborigines: one of the most delicious sequences finds them teaching him to exercise a spear-thrower and to suck water out of the sand through a bamboo–after which he repays them by conducting a class in the making and kindly consume of a rawhide lasso. Rickman is the kind of villain you savor to hate: unexcited, silky, sneering, yet acting from what seem to him to be completely profitable reasons. San Giacomo may be “touched in the head,” but she’s also earthy, practical, and fiercely exact to Selleck and to the orphaned Aboriginie baby they find; her fable of how she came to be in Australia is touchingly delivered.
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And, like most of the best movies, “Quigley” can aid as a starting point for some penetrating family discussion. Parallels will hastily be seen between the Aborigines’ space and, not only the experiences of the American Indian, but the “ethnic cleansing” through which the obsolete Yugoslavia suffered, and which kids may have studied in school. Quigley seems not to be revengeful against Marston and his crew of 20-odd tough English and Irish until they act against the Aborigines who have been his and Cora’s friends, and even then a case can be made for his killing as many of them as he can hit: afoot and outnumbered, he doesn’t want them in the residence and enraged at him; after the second Aboriginie drive and the accidental killing of a storekeeper’s wife, he is simply resolved to preserve them from doing any more wound.
Though action is the movie’s keynote, it is above all the memoir of how three people inspire one another to positive inevitable acts–in short, like all the best stories, it turns on character. And its characters will remain in the memory for a long time to near. (A side-benefit is the blood-stirring procure by Basil Poledouris, which was one of the first CD’s I ever purchased.) The cinematography gives a great sense of the size and loneliness of the Australian outback (filming was done in Alice Springs and other Australian locations), as well as of how critical it is that Quigley seems far better able to adjust himself to it than Marston’s men are willing to do. Director Simon Wincer, though not of American birth, has turned out a movie which, while not strictly a “accurate” Western, should become a classic of the genre. By my criteria, it’s definitely a 10–or perhaps even a 12.
An American sharpshooter (Tom Selleck) with a worthy, experimental rifle takes to the high seas in the gradual 1800’s and sails across the Pacific Ocean to Australia. His name is Matthew Quigley and he has been hired by Elliot Marston (Alan Rickman) to rid the wealthy landowner down under of the numerous packs of dingos (wild dogs) attacking his livestock. At Least that’s what Quigley thinks he’s being hired to do.
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Shortly after arriving on this foreign shore Quigley learns the contemptible truth about his assignment. The cruel and despotic Marston doesn’t like Aborgines wandering through across his land and has decided to solve the quandary by exterminating them. Quigley has been hired to carry out the job. His refusal to pick the job marks the beginning of an story battle between Marston and his men against Quigley as he fights to defend the indigenous population.
Action/Adventure in its truest tradition, with the lines clearly drawn between the forces of beneficial and execrable. You will collect yourself rooting out loud for the “righteous guy” before the movie is through!
Buy,Download, Or Stream Quigley Down Under! Click Here
Buy,Download, Or Stream Quigley Down Under! Click Here
Along with the typical action sequences you put a question to to procure in a worthy Western, there are also plenty of poignant and sunless moments which center around both the spot of the aboriginal culture and the personal tragedy shared by Crazy Cora with Quigley in one of the most tender moments of the movie.
Great performances by all. Tom Selleck was born to play this role and anyone familiar with Alan Rickman knows that nobody is better at playing the “awful guy” than he is. And let’s not forget Laura San Giacomo as Crazy Cora who supplies both the laughable relief and eventual esteem interest of Matthew Quigley.
This was a tremendously current plan for a film which was carried out to perfection. This is not only one of my popular Westerns, but one of my all-time approved films.
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