Although it is apparent in this episode that John Williams has retreated from his story-teller themes, there is probably a great circle of character relations that is woven with Shortround's theme. In this second movie, Indy and the love interest, an archaeologist and a lounge singer, share no real common ground. Shortround's character is more than likely the glue of the group, as he is seen playing cards with Indy in one scene and eating dinner with Willie in another. The three make a motley crew and it is interesting how Shortround's theme, apart from being a secondary hero theme, is used to weave the three together. It is also obvious, even without the soundtrack, that Spielberg decided to add this sidekick in the second installment so that there could be someone of youth to relate to the plight of the slave children. As such, Williams's score also brings the themes of Shortround and the children together.
Obviously, though, any great sidekick is not going to be without his own heroic moments. Shortround is no exception and Williams does not relent in offering Shortround his own heroic cues throughout the adventure; these will be discussed as well.
Shortround's theme is used in this movie to tie the characters together. As such, events, instead of being accompanied by one character theme, are sometimes split to allow for Shortround's theme.
I love the cues that offer the hero's and the sidekick's themes together. The first example of this is during the descent of the raft from the falling plane. Just as the raft fully inflates, Indy's theme is cued and flows straight into Shortround's theme. Before the boat hits the ground, both of the heros themes have played. Near the end of the movie, Indy's theme accompanies his stepping onto the rope bridge and Shortround's theme immediately follows as he is shown exiting with Willie on the opposite side. The most exciting cue, however, is while Indy fights the slave driver and Shortround fights the Mahuraja; vintage sidekick footage. The cue happens as Shortround is reaching for the pin in Indy's voodoo doll. Shortround's theme is long and drawn out to illustrate his stretch. Just as he grabs it, the hero's face lights up, his theme takes fanfare form, and he kicks the bad guy's tail. It doesn't get any better than that!
To illustrate the duo's friendship away from action, John Williams includes two things I love. One is right after Indy has awoken from the Black Sleep of the Kalima and Shortround is handing him his hat and satchel. Indy's theme plays slowly as Shortround looks up at him, then the hero hugs his sidekick and the Shortround theme plays. The second is during the credits. During the normal "Raider's March" fanfare, Shortround's theme is played behind it on pizzicato, or plucked, strings, illustrating the "guy behind the guy" motive.
Shortround relates to Willie's theme, however, almost as many times as his theme relates to Indy's. The first time accompanies their boarding the elephants in the village. Each theme cues as its respective character is shown on their "vehicle". This is volleyed twice before they leave the village. On the journey, Shortround's theme, for whatever reason, plays majestically as they cross the river and then begins its built-in transitional passage. This transition leads to Willie's theme as she bathes the elephant in her perfume. The same transitional material from Shortround's theme is also used to segue into Willie's theme in the credits. The funniest cue is their jumping onto the mine cart. Willie's clumbsy theme plays as she stumbles in, but Shortround's plays mockingly as he trips the guy and uses him as a stepladder.
Lastly is his relation to the slave children. The first instance of this is as Shortround climbs the hill to tell Indy about the slave children. His theme cues briefly as he enters the scene and fades to the children's when he begins talking about them. Although buffered by a bit of incidental music, his theme more or less leads into the children's as he is first shown in the cell just before the child begins describing the Black Sleep. Moments later, the same happens in reverse, as the children's theme plays while panning across the work grounds. Shortround's cue happens as soon as the camera reaches him. The best relation, however, of Shortround to the children is when it shows him as a representative of the masses. This occurs upon his successful escape from the camp. His theme plays heroically as he makes his escape. When he turns back around to look down at them, they cheer on his efforts and his theme turns into theirs.
