The Adventure We Almost Missed: Tom Selleck’s ‘High Road to China’ and the Shadow of Indiana Jones
What if I told you that one of the most iconic roles in cinematic history almost went to someone else? Tom Selleck, the quintessential 1980s leading man, was this close to becoming Indiana Jones. But fate, or rather CBS’s scheduling conflicts, had other plans. Instead, Harrison Ford donned the fedora, and Selleck went on to star in High Road to China, a film often dismissed as a mere Raiders of the Lost Ark knockoff. But here’s the thing: High Road to China is far more interesting than it’s given credit for. Personally, I think it’s a fascinating case study in how Hollywood capitalizes on trends—and how one actor’s ‘what-if’ moment became a unique adventure in its own right.
The ‘What-If’ That Haunts Hollywood
Let’s start with the elephant in the room: Tom Selleck as Indiana Jones. What makes this particularly fascinating is how perfectly Selleck fit the mold. He had the charm, the ruggedness, and the physicality that Jim Steranko’s concept art envisioned for Indy. In my opinion, Selleck could have brought a different, perhaps more muscular and brooding, energy to the role. But CBS’s refusal to let him juggle Magnum, P.I. and Raiders handed the part to Harrison Ford, who, let’s be honest, became synonymous with the character.
What many people don’t realize is that Selleck’s near-miss with Indy wasn’t just a personal loss—it was a cultural one. Imagine a world where Selleck’s Indy competes with Ford’s Han Solo for the title of most iconic adventurer. It’s a tantalizing thought, but it also raises a deeper question: Would High Road to China have even existed if Selleck had become Indiana Jones? Probably not. And that’s what makes this film so intriguing—it’s a direct result of Hollywood’s ‘what-if’ machine.
A Clone with a Twist
High Road to China is undeniably an Indy rip-off, but what sets it apart is its willingness to deviate from the formula. Selleck plays Patrick O’Malley, a World War I veteran and biplane pilot who’s more of a drunk than a daredevil. Here’s where it gets interesting: O’Malley doesn’t engage in hand-to-hand combat. Instead, he relies on his flying skills to save the day. From my perspective, this is a bold choice. It’s as if the filmmakers said, ‘We’re going to make an adventure movie, but we’re not going to copy Raiders beat for beat.’
The film’s 1920s setting and focus on aviation give it a distinct flavor. It’s not just about treasure hunts and fistfights; it’s about the romance of flight and the complexities of post-war life. One thing that immediately stands out is how the film leans into its characters’ flaws. O’Malley isn’t a perfect hero—he’s flawed, reluctant, and often out of his depth. This humanizes him in a way that Indy, with his almost superhuman abilities, never was.
The Critics Were Wrong (Sort of)
Critics like Roger Ebert and Vincent Canby panned High Road to China as a pale imitation of Raiders. And sure, it’s not a masterpiece. But here’s the thing: it’s not trying to be. If you take a step back and think about it, the film is a product of its time—a time when Hollywood was desperate to replicate Spielberg’s magic. What this really suggests is that High Road to China wasn’t just competing with Raiders; it was competing with a dozen other Indy clones.
What’s more, the film’s commercial success ($28.4 million on a $15 million budget) proves it resonated with audiences. Selleck himself has called it ‘a good movie,’ and I tend to agree. It’s fun, it’s adventurous, and it gives Selleck a chance to shine in a role that, while not Indy, is still memorable. A detail that I find especially interesting is how the film’s behind-the-scenes drama—with two directors replaced—didn’t sink it. Instead, it seems to have added a layer of grit that makes it feel more authentic.
The Legacy of the Almost-Indy
So, where does High Road to China stand today? In my opinion, it’s a time capsule of an era when Hollywood was both inspired and constrained by Raiders of the Lost Ark. It’s also a testament to Tom Selleck’s versatility as an actor. While he didn’t get to be Indiana Jones, he carved out his own space in the adventure genre.
If you ask me, the film’s greatest achievement is that it didn’t try to be Raiders. It embraced its own quirks, from its focus on aviation to its flawed protagonist. This raises a deeper question: Why do we insist on comparing films to their inspirations instead of judging them on their own merits? High Road to China isn’t a masterpiece, but it’s far from the disaster critics made it out to be.
Final Thoughts
As I reflect on High Road to China, I’m struck by how much it has to say about the nature of Hollywood, creativity, and the ‘what-ifs’ that shape our cultural landscape. It’s a film that could have been lost to time, but instead, it stands as a reminder that even the most derivative works can have their own unique charm.
Personally, I think High Road to China deserves a reappraisal. It’s not just a footnote in the Indiana Jones saga—it’s a fascinating detour. And in a world where every film is judged against the best, it’s a refreshing reminder that sometimes, being different is enough.
So, the next time you’re in the mood for an adventure, give High Road to China a chance. You might just find yourself appreciating Tom Selleck’s almost-Indy for what it is: a fun, flawed, and utterly unique ride.
