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Indiana jones and the curse of the jackal

The Curse of the Jackal was the two hour (with commercials) pilot for The Young Indiana Jones Chronicles on March 4th, 1992 featuring a two part story set in both 1908 starring Corey Carrier as 9-year-old Indy and in 1916 starring Sean Patrick Flanery as 16-year-old Indy. Bookends were included featuring George Hall explaining what happened before and after the two-part adventure. When re-edited in chronological order for the DVD video release The Adventures of Young Indiana Jones, the pilot episode was split into two parts, forming the first half of Chapter 1: My First Adventure and the second half of Chapter 6: Spring Break Adventure .

Since the score was composed by Laurence Rosenthal for the pilot movie, it makes sense to consider the music as it originally aired. While the score has not been released, a few parts have been reused in other areas:

• Part of the track "Cairo / Pyramids / Ned" was reused in the My First Adventure DVD credits and in a scene from Daredevils of the Desert also featuring Indy talking with Ned (available from the LEGO Indiana Jones video game).
• Part of the track "Army Camp / Indy Joins The Revolution" was re-recorded as part of the The Best of the West CD release.
• And finally, the track "Pyr amids Dress Chase" is a variation on the Young Indiana Jones theme itself, a portion of which is used in the closing DVD credits to Spring Break Adventure .

Will the music as recorded for the episode ever be released? Ford A. Thaxton (an industry insider) explained in a post on the Film Score Monthly forums that the score for The Curse of the Jackal was recorded in the United States with members of the American Federation of Musicians. To release the score, new licensing fees would need to be payed to the players. Thaxton writes: "After the pilot episode, the scores for the series were recorded in Germany and other places that didn't have any new usage fees." Presumably, this explains why the original soundtracks do n ot feature music from the pilot episode, and why the music is not utilized in any of the games except where already reused within the Young Indiana Jones series itself. The track names below are courtesy of an anonymous source.

Recap / Young Indiana Jones And The Curse Of The Jackal

Young Indiana Jones and the Curse of the Jackal is the first-ever episode of The Young Indiana Jones Chronicles. It's a feature-length TV movie which served to introduce the character at the two ages he would be portrayed as in the show. First broadcast on 4th March 1992.

On a visit to a New York museum in 1992, an elderly Indiana Jones meets two truant boys and regales them with stories from his early life.

In 1908, Indy — travelling around the world with his parents — meets Helen Seymour, who is hired to be his tutor. In Egypt, Indy and Helen visit the Pyramids, where they meet T. E. Lawrence, who invites them to an archaeological dig. There, they meet Howard Carter who is excavating a newly-discovered tomb with the help of his Egyptian assistant, Rashid. The next day, Rashid is found murdered and a valuable jackal headpiece stolen from the tomb. Demetrios, the chief blaster of the excavation, is revealed to be behind this, but he escapes.

In 1916, a teenage Indy travels to the Mexican border with his cousin Frank but is captured by revolutionaries led by Pancho Villa. He befriends Remy, a Belgian chef who has somehow fallen in with the revolutionaries. Indy also recognises Demetrios — who is now an arms dealer who does business with Pancho Villa but also spies for the Americans. After learning of the revolutionaries' hypocrisy, Indy and Remy decide to leave — but not before Indy deals with his unfinished business with Demetrios.

In the epilogue, Old Indy reveals to the kids that the jackal headpiece is now an exhibit in the museum.

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This episode contains examples of:

• Adventure Archaeologist: T.E. Lawrence, one of the classic Real Life examples of this trope, is shown here as a hero and mentor-figure to Indiana Jones, the greatest fictional example.

Indy: I'd like to be an archaeologist.
Lawrence: Maybe you'll add a new page to history. Or discover a treasure beyond price.
Indy: And get rich!
Lawrence: No, Henry. the archaeologists don't get rich. Archaeology doesn't steal from the past, it opens it. So that everyone may learn from its treasures.

• Also, Lawrence is stated to have chased Demetrios all the way from the Valley of the Kings to Port Said. That's about 500 miles; presumably he didn't do the whole thing on his bike.

• We also get a subtle one involving pets. At the beginning of the first flashback sequence, we briefly see Indiana, the dog whom Indy nicknamed himself after. Later, Old Indy says he has to go home and feed his cat, who's called Henry. So as a boy, Indy named himself after the dog, and as an old man he has a cat who he's named after himself.

• At the end of Indiana Jones and the Last Crusade, it was revealed that Indy is nicknamed after the family dog. Here, we get to see a young Indy playing with that dog.
• When Indy arrives at the Egyptian dig site, he passes a group of diggers whose work song is the same as the one the diggers in Raiders of the Lost Ark sing when they are digging for the Well of the Souls.
• Henry Snr. comes across as a Reasonable Authority Figure who allows his son plenty of leeway (in the first segment he lets him go to the Valley of the Kings with Lawrence, and in the second he has no objections to Indy and Frank's proposed camping trip), which is how he remembers himself as a father in Last Crusade — even though their relationship is clearly strained by the 1916 segment due to the death of Indy's mother, which is stated to have happened three years previously.
• Indy and Remy riding off towards the rising sun is reminiscent of Indy, Henry Snr., Sallah and Marcus riding off into the sunset at the end of Last Crusade.
• Another one relating to Last Crusade; this is not the last time that Indy recovers a MacGuffin after a Time Skip, and ensures that it ends up where it belongs — in a museum.

• Could be that she was seriously ill by that point.

Lawrence: Henry, wherever you go, and whatever countries you visit, learn the language. It's the key that unlocks everything, the most important thing of all.

• Much of the 1916 sequence is in Spanish with English subtitles, both from the Mexican characters and Indy himself. This contrasts with the subsequent episodes, which relied on Translation Convention for the most part.
• The first time Indiana Jones shoots someone, his first reaction is to apologise. His victim, who is wounded rather than killed, then tries to attack him, and it falls to Remy to finish him off.

• The journal Henry Snr. gives Indy to record his adventures is the one seen being opened by Old Indy in the opening credits. It's also seen in several later episodes and is alluded to in several other media in the Indyverse — and eventually formed the basis of a tie-in book, The Lost Journal of Indiana Jones which was published in 2008 to coincide with the release of Indiana Jones and the Kingdom of the Crystal Skull note in which it is claimed that the journal fell into the hands of the KGB in 1957, thus creating a minor Continuity Snarl, for if that were so, how could Old Indy be looking through it in the early 1990s? .
• As is the case in several later episodes, teenage Indy is shown to be writing a letter to Ned, and referring to letters Ned wrote to him.
• In 1916, Indy reads about the fighting on the Western Front in a newspaper. It won't be long before he gets to experience thatfor himself.
• One of the girlie pictures Indy and Frank look at is of Mata Hari.
• In a Real Life example, Carter shows Lawrence and Indy a clay seal bearing the name of Tutankhamen. This leads to a brief discussion on the prospect of discovering his tomb, which Carter would do in 1922.
• Lawrence admits to being prone to exaggeration, something his Real Life detractors would often accuse him of doing.

• In the former, the mood turns sour when Rashid is killed.
• In the latter, Indy and the other prisoners are subject to a firing squad — but just before the order to fire is given, Pancho Villa himself puts a stop to it. José, the man who arranged the firing squad, subsequently embraces Indy and befriends him.
• In the movie scene, the revolutionaries are genuinely moved by the silent film even though it is about an American soldier going off to war. Then they see the newsreel about Pershing, and are angry — so angry they shoot the place up.

• Same goes for how Indy lost an eye; this has not been explained anywhere in the Indyverse. That said, it is ambiguous as to whether it was later Retconned out by the late-1990s re-editing of this series, which saw the Old Indy scenes get dropped.

• Also, a murder mystery at an archaeological dig in Egypt may put some viewers in mind of Agatha Christie, whose second husband was a noted archaeologist and who set a few of her novels in the Middle East (Death on the Nile, Murder in Mesopotamia, etc).

Title Card: To the Halls of Montezuma! US troops sweep into Mexico.
Indy: US troops . pay a courtesy visit to Canada.
Card: General Pershing: "We shall soon have that cowardly bandit Pancho Villa on the run."
Indy: It says General Pancho Villa . is a great man.

History in Objects: “Indy & Me”

One of Lucasfilm’s first major forays into series television, The Young Indiana Jones Chronicles first broadcast on American screens thirty years ago this week on March 4, 1992. It was a Wednesday evening when the premiere episode, “The Curse of the Jackal,” aired at 8:00 PM on ABC.

That week, the publication TV Guide sported the 10-year-old Indy (Corey Carrier) on its cover. As the image of the young adventurer filled millions of American mailboxes, TV Guide readers were treated to a rare statement from executive producer George Lucas himself about the new Lucasfilm series and why he’d set out to make it.

In the piece titled “Indy & Me,” Lucas discussed his roots with television. At the age of 10 in the mid-1950s, his family had acquired a TV set, and the young Lucas soon discovered syndicated adventure serials that would help inspire both the Indiana Jones and Star Wars film series. As a young college student, Lucas was then influenced by anthropology and studies of other cultures, religions, and philosophies. These interests synthetized into the adventurer-archaeologist first played by Harrison Ford in Raiders of the Lost Ark (1981).

For the new television series, “I had to go backward and create a history that filled in the blanks,” Lucas wrote. “I had to show how Young Indy evolved into the Harrison Ford character.” With Indy’s father an academic, Lucas could send the boy on “exciting adventures” around the world while the elder Jones conducted lectures. Indy encountered historic figures from T. E. Lawrence to Pablo Picasso. “My daughters have been with me for many of my trips,” said Lucas. “Exactly what effect all this will have on their lives I don’t know, but in the end, they’re typical kids. I wanted that to be true of Indy, too.”

From boyhood through to his teenage years (when the older Sean Patrick Flanery assumed the role), Indy’s experiences reflected George Lucas’ interests. He’d encounter artists and thinkers, soldiers and statesmen, who collectively influenced the course of events in the early 20 th century.

“It’s always exciting to watch Indy grow up,” Lucas said, “his life is exciting and intense. But for me, life is better when it is quieter.” Perhaps bringing Young Indy to the television screen was a way for everyone, regardless of their ability for world travel, to embark on an adventure of the mind.

Rightfully, Lucas focused on the story and themes behind Young Indy in his brief essay. But he hadn’t mentioned that, in making the series, he was also thinking ahead to future Lucasfilm stories. A globe-trotting production that shot year-round, Young Indy’s post-production was centered at Skywalker Ranch where Lucasfilm’s state-of-the-art EditDroid and SoundDroid digital tools were used. The company had spent more than a decade creating them, and Lucas was eager to test out new computer-based means of filmmaking. These advancements would continue with Radioland Murders (1994) and ultimately, on the new Star Wars prequel trilogy.

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