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? It’s a question that’s fascinated film buffs for decades: What if Tom Selleck, the mustache-clad heartthrob of Magnum, P.I., had landed the role of Indiana Jones? Personally, I think this ‘what-if’ scenario is more than just Hollywood trivia—it’s a window into how small decisions can shape cultural phenomena. Selleck was this close to becoming the face of the Raiders of the Lost Ark franchise, but CBS’s refusal to let him juggle both projects handed the role to Harrison Ford. The rest, as they say, is history. But here’s the twist: Selleck didn’t just fade into obscurity; he starred in High Road to China, a 1983 adventure film that’s often dismissed as an Indiana Jones rip-off. From my perspective, this movie is far more interesting than it’s given credit for—not because it’s a masterpiece, but because it’s a fascinating study in what happens when an actor gets a second chance at a genre he was almost synonymous with.
The Indiana Jones We Never Saw
One thing that immediately stands out is how High Road to China could have been Selleck’s redemption arc. Let’s be clear: this isn’t Indiana Jones. It’s not even trying to be. While the film capitalizes on the adventure craze sparked by Raiders, it diverges in ways that are both deliberate and unintentional. Selleck’s character, Patrick O’Malley, is a World War I vet and biplane pilot—a far cry from the whip-cracking archaeologist we know and love. What makes this particularly fascinating is how the film leans into Selleck’s charm without forcing him into Indy’s boots. He’s not fighting hand-to-hand; he’s flying planes and outsmarting villains. In my opinion, this was a smart move. It allowed Selleck to carve out his own space in the adventure genre without becoming a carbon copy of Ford’s performance.
What many people don’t realize is that High Road to China isn’t just a knock-off—it’s a film with its own identity. Set in the 1920s and based on Jon Cleary’s novel, it tells the story of O’Malley and heiress Eve Tozer (Bess Armstrong) as they trek across Asia to rescue her missing father. The plot is straightforward, but the chemistry between Selleck and Armstrong adds a layer of charm that’s hard to ignore. If you take a step back and think about it, this film is less about emulating Raiders and more about exploring what an adventure movie could be without the Indiana Jones formula. It’s not perfect, but it’s undeniably unique.
The Critics Were Wrong (Sort of)
Here’s where things get interesting: High Road to China was panned by critics at the time. Roger Ebert called it an ‘unconvincing, harmless action movie,’ while Vincent Canby dismissed it as a pale echo of Raiders. Ouch. But here’s the thing: they weren’t entirely wrong. The film does feel like a product of its era, a time when Hollywood was desperate to replicate Spielberg’s magic. However, what this really suggests is that critics were judging it through the wrong lens. This wasn’t meant to be Raiders 2.0; it was a different kind of adventure film, one that prioritized character dynamics over nonstop action.
From my perspective, the film’s commercial success—$28.4 million domestically on a $15 million budget—speaks volumes. Audiences saw something in it that critics missed. Selleck himself has always been proud of the film, and I can see why. It’s not a masterpiece, but it’s a fun, breezy ride that gives him a chance to shine. In a way, it’s the adventure we almost missed—not because it’s groundbreaking, but because it shows what could have been if Selleck had taken a different path.
The Broader Implications: Clones, Trends, and Cinematic Legacy
This raises a deeper question: Why do we dismiss films like High Road to China as mere rip-offs? The ‘80s were flooded with Raiders clones, from King Solomon’s Mines to Firewalker, but most of them have been forgotten. High Road, however, lingers in the cultural consciousness, if only as a footnote in the Indiana Jones saga. What makes this particularly fascinating is how it reflects Hollywood’s tendency to chase trends rather than innovate. But it also highlights something else: the power of an actor’s charisma to elevate a film beyond its flaws.
If you take a step back and think about it, High Road to China is a time capsule of an era when adventure films were king. It’s not as polished as Raiders, but it doesn’t need to be. It’s a reminder that not every film has to be a masterpiece to be memorable. Personally, I think that’s what makes it worth revisiting today. It’s a ‘what-if’ scenario come to life, a glimpse into an alternate universe where Tom Selleck got his shot at adventure—just not the one we all expected.
Final Thoughts: The Adventure We Got
In the end, High Road to China isn’t a forgotten gem, but it’s far from a failure. It’s a film that exists in the shadow of Indiana Jones, yet manages to stand on its own in subtle, unexpected ways. What this really suggests is that sometimes, the most interesting stories aren’t the ones we get—they’re the ones we almost had. Selleck’s journey from almost-Indy to Patrick O’Malley is a testament to the unpredictability of Hollywood and the resilience of actors who refuse to be defined by a single missed opportunity.
So, the next time you watch Raiders of the Lost Ark, take a moment to think about the film that could have been. And maybe, just maybe, give High Road to China a chance. It’s not perfect, but it’s a fun detour into a world where Tom Selleck got to be the hero—just not the one we remember.
