Quigley Down Under is a fun, knockabout action-western, written by John Hill, and also directed by Simon Wincer. The film stars Tom Selleck as Matthew Quigley, a sharpshooter from the Amerideserve to west, that answers an advertisement in search of men with his abilities, and finds himself traveling to Australia circa 1860. Upon arrival, he meets one more Amerideserve to woguy, Cora (Laura San Giacomo), and then his prospective employer, a rancher and also ruthless regional businessmale called Elliott Marston (Alan Rickman). However, when Quigley is told that his job is to murder Aborigines, he refuses; enraged, Marston abandons Quigley and Cora deep in the outback. They are saved by members of the local tribe, that are subsequently attacked by Marston’s men; angered by the injustice, and also by Marston’s ruthlessness, Quigley vows to put a soptimal to it all. In spite of addressing the necessary topic of the genocide of the aborigines in 19th-century Australia, and also despite starring Selleck (who was still a bankable box office star at the time), the film was not a good success, with many type of movie critics citing its uneven tone, which unefficiently unified Selleck’s roguish cdamage with some rather strong violence and activity.
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The score for Quigley Down Under was by the excellent Basil Poledouris, and was the second of 5 movies he did through director Wincer, the others being Lonesome Dove, Harley Davidkid and also the Marlboro Man in 1991, Free Willy in 1993, and Crocodile Dundee in Los Angeles in 2001. Wincer always motivated Poledouris to write some of his ideal job-related, and also Quigley Dvery own Under is no exception – it has among Poledouris’s all-time biggest major themes, some terrific evocations of the Australian outback in a style that draws parallels via the American west, and several ball-busting activity sequences of good power and power.
There are 4 or five recurring themes running through Quigley Down Under, 3 of which are perdeveloped within the “Key Title”. Quigley himself has actually two themes, and also they are the initially two points you hear. The first is a jovial, vaguely comical theme for a solo clarinet, which picks up a new critical color via each refrain – solo tuba, then banjos and also guitars – and also has a type of roguish mindset, a handsome grin behind a bushy mustache, a glint in an eye. The design template transforms at 1:02 and also becomes a lot even more romaking use of, a classical western principle for bold brasses and strings evocative of wide open up levels – although this time, the plains are in the antipodes, not the wild west. Poledouris introduces some fun ragtime elements under the melody, additionally including a touch of mischievous cinjury to Quigley’s happy-go-lucky perspective and personality. Then at 2:21 Poledouris introduces his 3rd layout, Cora’s Theme, a lovely collection of textures for woodwinds, strings, and solo harp. Tright here will certainly be more of that later.
Quigley’s themes and also Cora’s design template are prominent in the second cue, “The Fight,” which underscores Quigley’s actual arrival at the docks in Australia, and also his initially encounter through the guys who work-related for his prospective employer Marston. Unfortunately, this encounter is an old-fashioned donnybrook brawl, for which Poledouris networks his inner Aaron Copland through a classical folksy western layout complete of dancing strings. Once the misexpertise is cleared up Quigley’s main themes take over when more; tright here is a pretty statement of Cora’s theme, and also the piece ends through a superb statement of Quigley’s B Theme over the majestic vistas of the outago, which has even more than a little of Lonesome Dove in its DNA. This leads into the “Native Montage,” which presents a lovely guitar version of Quigley’s B Theme with accompaniment from light flutes and also elegant strings, an idyllic depiction of pre-early american agrarian aborigine life.
The score changes enormously in the fourth cue, “Marston’s Murderers,” which is wbelow Poledouris brings out his recurring action concepts for the initially time. The cue opens up with an variety of strongly rhythmic low brass clusters, heavy wood percussion rhythms, banjo licks, and light digital tonalities, which together produce an identification for Elliott Marston, his gang of thugs, and the threat they current to Quigley, Cora, and also the neighborhood natives afavor. At 0:51 Poledouris presents the initially explosion of Quigley’s Action-Adundertaking layout, a substantial and also heroic template for noble horns and accompanying banjos, spirited and also romaking use of. The enhancement of modern-day cymbal licks throughout its second refrain provides an exciting brand-new texture, while the conclusion of the cue is even more enigmatic, featuring strings and also electronics through a wandering woodwind motif. The activity proceeds later on in “The Fire,” in which nervous, clattering percussion and also shrill woodwinds lead right into an intense variation on Quigley’s Action-Adendeavor theme. These moments of high anxiety are interspersed through orchestral dissonances, and electronic textures which at times remind me a little of Robocop.
However before, by much the finest action cue is “The Attack,” which offers repetitive statements of Quigley’s Action-Adendeavor layout, percreated through intensity and power over a lively financial institution of tapped percussion. The moment at 1:06 wright here Poledouris’s activity banjo kicks in is just great, one of the action highlights of Poledouris’s entire career, and also the succeeding juxtaplace of the bold, heroic horn template against the unfathomably quick banjo picking and guitar strumming underneath it is simply sensational. The contrapuntal creating that moves between brass and also strings in the direction of the end of the cue offers it a significant complexity that is deeply satisfying, especially when it combines through the recurring Cherry 2000-style rhythmic concepts.
Elsewhere, “Cora’s Story” supplies several moments of calm reflection, and subtle variations on her template, as the character ultimately reveals her sad history to a concerned Quigley. Poledouris offers gentle strings, haunting woodwinds, and chime-choose electronic percussion sounds, the combination of which make it sound a small medieval, a tiny liturgical, and draws comparisons to the softer moments of Flesh + Blood. Tright here is also a relocating violin solo, and soft guitars, which add a lilting folk-like high quality to the sound. Meanwhile, in “The Gift,” Poledouris introduces his final recurring template, to reexisting the aborigine people that helps Quigley and also Cora in their hour of need. The template appears right here for the initially time at the 2:07 note, and also is just gorgeous; the way it combines with Cora’s layout, the clarinet version of Quigley’s A Theme, a gorgeous lilting duet for violin and also guitar, and a magnificent conclusive statement of Quigley’s B Theme, renders this cue among the most emotionally fulfilling of the whole score.
The finale of the score starts with “The Record,” which revisits the concepts for Marston’s gang amid a set of dramatic and anxious percussive textures, including some rolling, clanging bells that have an identifiable James Horner vibe. The penultimate cue, “Freedom” is all around relief and emancipation, through Quigley having actually beat Marston and his males, and saved the aborigine people. The relief comes from a sluggish, reflective version of Quigley’s Action-Adendeavor Theme arranged for oboes and strings, underpinned via a touch of Morricone-esque bittersweetness; the emancipation comes via the magnificent statement of the Aborigine Theme at 1:48, the stirring woodwinds of which have actually echoes of the score for Farewell to the King. After a brief moment of fife & drum pageantry to reexisting colonial Australia’s British redcoat army – yes, they were tbelow too! – the conclusive “Matthew Quigley” supplies a wonderful last summation of the score. Beginning via an unspecific, skeptical, minor-vital variation of Cora’s design template, the music progressively melts right into romance as Quigley and Cora adopt, and also then the finish credits start, offering final statements of the major Quigley A Theme, the Quigley B Theme, the Ragtime variant, Cora’s theme, a Ragtime variant repincrease, and also a Quigley A Theme repincrease to cshed.
The score for Quigley Dvery own Under was released by Intrada Records at the time the film was released, however despite the popularity of the score and the composer, the album was out of print by the finish of the decade, and was commanding hefty prices on the additional sector. An increased release of the score came out in 2006 on the Belgian label Prometheus, produced by Ford A. Thaxton and also Luc Van de Ven. The expanded album attributes even more than a dozen additional cues, taking the album running time as much as almost 75 minutes. Tright here are a number of remarkable highlights on this album not had in the original release, including a couple of superb activity cues in “The Stabbing,” “You’ll Be Back,” and “Dingo Attack,” and also some inexplicable ethnic throat singing which acts as a secondary leitmotif for the natives and deserve to be heard in a number of cues, notably “The Aborigines Return”.
While Poledouris aficionados rightly procase scores like Conan the Barbarian, Lonesome Dove, Robocop, Starship Troopers, and also Les Misérables as his career standout functions, Quigley Down Under must not be overlooked as part of this list. Although the publicity product, which showinstances Tom Selleck’s laconic smile grinning down from eincredibly poster and CD cover, may make it seem as though the score could be comedic, even silly, it is much, a lot even more than that. The means it interweaves the half dozen or so recurring themes is intelligent and also exceptional, the options of specialty orchestration (clarinet, tuba, banjo) are fascinating, the romantic moments are beautiful, and also the activity music is dazzling, via the previously mentioned “The Attack” a career highlight. As such, Quigley Down Under comes via an unhesitating referral.
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Track Listing:ORIGINAL RELEASEKey Title (3:17)The Fight (4:57)Native Montage (2:11)Marston’s Murderers (3:31)Cora’s Story (3:18)The Fire (2:57)The Gift (5:25)The Attack (2:49)The Record (2:44)Freedom (3:34)Matthew Quigley (5:22)EXPANDED RELEASEMain Title (3:19)The Fight (4:57)The Redcoats Move On (1:54)The Arrival (1:52)The Test (1:03)Marston’s Game (1:00)Quigley Pans Out (0:48)Quigley Gets Beat Up (1:50)The Stabbing (2:02)Desert Trek (2:56)The Aborigines (1:18)Native Montage (2:12)Cora’s Story (3:19)Marston’s Attack (3:33)Royus Interrupts (1:34)The Cliff (1:08)The Bodies (0:33)The Baby (1:50)You’ll Be Back (1:13)Dingo Attack (2:41)The Fire (2:59)Under the Boat (3:00)Quigley & Cora (2:37)The Gift (5:26)The Warning (1:37)The Attack (2:51)The Record (2:44)After the Gunfight/Freedom (3:35)The Aborigines Rerotate (2:56)Matthew Quigley/End Credits (5:24)
Running Time: 40 minutes 05 seconds (Original)Running Time: 74 minutes 11 secs (Expanded)
Intrada MAF-7006D (1990) – OriginalPrometheus XPCD-162 (1990/2006) – Expanded
Music created and conducted by Basil Poledouris. Orchestrations by Grieg McRitchie and Mark McKenzie. Recorded and also combined by Tim Boyle. Edited by Tom Villano. Score developed by Basil Poledouris. Expanded album developed by Ford A. Thaxton and also Luc Van de Ven.