It is generally considered that the one pure American genre is the western. While is began that way like any enduring form of storytelling it has been adopted by a plethora of other ethnicities. In each case the character archetypes and thematic tropes generally remain largely intact but filtered through the prism of different cultures. This is the proof that the western has potential far beyond the Saturday afternoon matinee entertainment for kids. This ubiquitous type of story has been used as a platform for everything from character driven drama to allegorical socio-political commentary. As a base line to understanding the proliferation of the western it is vital to understand cowboys ten to be present anywhere there are cows. The myopic world view shared by many Americans generated a belief that this country was the most important cattle producing nation in the world. Technically this might be true but cowboys have been the part of many national stories producing their own version of westerns. I have seen westerns from Argentina, Spain and even Poland. One other country that in many ways echoed our own cowboy mythos closest to our own is Australia. Like the United States Australia was a nation torn from a rough, vast wilderness by highly individualistic, rugged people. The film under consideration here, ‘Quigley’ Down Under’ is a rather unusual mixture of American standard plot points filtered through the eyes of an Australian filmmaker. A considerable portion of the potential of this flick is lost, diluted by too many concessions to placate an American audience. If the focus had remained with that perspective telling a truly Australian story the results would have fared considerably better. This hybridized approach served to undermine the overall impact of the movie. The underlying premise is solid enough but the execution diminishes the impact of the piece. On the positive side the film does work in the footsteps of the original just plain old fun type of western. There is more Tom Mix here than John Ford but that still leaves you with a reasonably good popcorn movie.

Matthew Quigley (Tom Selleck) is an American cowboy and sharpshooter. Although Quigley has an inherently keen eye and steady hand his reputation has been argument by a specially modified 1874 Sharps Buffalo Rifle that is extraordinarily accurate over exceptionally great distance. Looking for a new challenge and a change in venue Quigley begins to mull over his options when an opportunity presents itself. He reads an advertisement in a newspaper seeking a man proficient in long distance shooting. His reply reflects the general affect of the man being direct to the point; "Matthew Quigley 900 yards" the position is offered and Quigley relocates to Australia. Before he is taken to meet his new employer, Elliot Marston (Alan Rickman), he is met by a group of ranch hands. Almost immediately he witnesses the men assaulting a local woman known as "Crazy Cora" (Laura San Giacomo), attempting to force her into their wagon. Quigley intervenes, a scene required in a western to efficiently establish Quigley as a man with an unswerving code of honor differentiating him from the local toughs. In lieu of white and black hats this scene is necessary to lay the moral foundation of the film. This does become a crucial element required for the story to proceed. Like many people born outside the American Old West Marston is infatuated with the overly romantic stories of the great American west and is enthralled by the tales of gunslingers that Quigley enthralled him with. Ostensibly Quigley thought his job was y to help rid the Marston station of dingoes but the truth turns out to be horrifying. Marston needs Quigley to kill off the Aborigine population indigenous to the region. Legally it is against the law but Marston is rich and powerful with an ‘understanding’ with the local authorities so that genocide is less of a priority than littering. Quigley finds the very concept detestable beyond belief which quickly brings the two strong willed men to odds. Marston is used to people yielding to his slightest whim but Quigley is an honorable man asked to do something diametrically opposed to every fiber of his being. This becomes the perennial case of the irresistible force meeting the immovable object.

This film is for the most part underappreciated. While it might have been more powerful if the protagonist was not an American import I understand the casting of Tom sellback in the lead. His look and mannerisms embodies the old west and does provide a tangible connection with classic American westerns. It is a bit of hubris to have the moral center of the film as an American but it works in its own fashion. The director, Simon Wincer, is a native Australian with an impressively eclectic resume. He has talked a more traditional western with ‘Lonesome Dove’, comic book action with ‘The Phantom’ and historical television with ‘The Young Indiana Jones Chronicles’. He does have the requisite understanding of the genre necessary to make the variations depicted here. Standing in for the Native American are the Aborigine sharing all the required character used to propel the story. Both people were peaceful populations displaced by European intruders. They were also generally considered as less than human with little in the way of enforceable legal rights. Like the Native Americans shown in more enlightened westerns the Aborigines here are fiercely loyal especially with regard to their steadfast position in defense of the man who stood up for them, Quigley. The movie is beautifully shot nicely showcasing the Australian outback that looks exceptionally crisp and clear in this new high definition release. The video is flawless and the sound field properly expansive.