Desecrated graves at a Jewish cemetery in Prestwich, Lancashire, in 1965. (Getty.)
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Britain's last anti-Jewish riots

Why have the 1947 riots been forgotten?

In 1947 a washed-out summer had followed a harsh winter, and Britain was in the grip of recession as it struggled to restart its economy after the Second World War. On the August bank holiday weekend, the weather in Manchester had turned hot and stuffy. Trade in the shops was poor, rationing was in full swing and many workers had opted to stay in the city for the long weekend.

In cinema queues and on street corners, one topic dominated the conversation: the murder of two British army sergeants by Irgun paramilitaries in Mandate Palestine. The Irgun was one of several Zionist groups fighting a guerrilla war to force British troops out of the territory and establish the state of Israel. It had kidnapped the two sergeants in retaliation for death sentences passed on three of its own fighters. The three men were executed by British forces on 29 July, and two days later the bodies of the soldiers were discovered amid the trees of a eucalyptus grove near Netanya. They had been hanged and the ground beneath them booby-trapped with a landmine.

It was just one incident of many in a vicious conflict. Militants had bombed the King David Hotel in Jerusalem a year previously, and even set off small bombs in London. But the “ser­geants affair”, as it came to be known, caused public outrage in mainland Britain.

On 1 August, a Friday, the Daily Express reported the story on its front page, prominently displaying a photograph of the bodies which, it promised its readers, would be a “picture that will shock the world”. British Jewish leaders condemned the killings, but more lurid details followed in the next day’s papers. That weekend, as Walter Lever, a working-class Jewish resident of Manchester recalled, “There was nothing to do but walk the streets . . . discussing the newspaper,” the story of the hanged sergeants “taking precedence over the week’s murders and rapes”.

There were already signs that a backlash was imminent. In Birkenhead, near Liverpool, slaughterhouse workers had refused to process any more meat for Jewish consumption until the attacks on British soldiers in Palestine stopped. Around Merseyside, the anger was starting to spill on to the streets as crowds of angry young men gathered in Jewish areas.

On Sunday afternoon the trouble reached Manchester. Small groups of men began breaking the windows of shops in Cheetham Hill, an area just north of the city centre which had been home to a Jewish community since the early 19th century. The pubs closed early that day because there was a shortage of beer, and by the evening the mob’s numbers had swelled to several hundred. Most were on foot but others drove through the area, throwing bricks from moving cars.

Soon the streets were covered in broken glass and stones and the crowd moved on to bigger targets, tearing down the canopy of the Great Synagogue on Cheetham Hill Road and surrounding a Jewish wedding party at the Assembly Hall. They shouted abuse at the terrified guests until one in the morning.

The next day, Lever said, “Cheetham Hill Road looked much as it had looked seven years before, when the German bombers had pounded the city for  12 hours. All premises belonging to Jews for the length of a mile down the street had gaping windows and the pavements were littered with glass.”

By the end of the bank holiday weekend, anti-Jewish riots had also taken place in Glasgow and Liverpool. There were minor disturbances, too, in Bristol, Hull, London and Warrington, as well as scores of attacks on Jewish property across the country. A solicitor in Liverpool and a Glasgow shopkeeper were beaten up. Nobody was killed, but this was the most widespread anti-Jewish violence the UK had ever seen. In Salford, the day after a crowd of several thousand had thrown stones at shop windows, signs appeared that read: “Hold your fire. These premises are British.”

Arsonists in West Derby set fire to a wooden synagogue; workers at Canada Dock in Liverpool returned from the holidays to find “Death to all Jews” painted above the entrance. And in Eccles, a former sergeant major named John Regan was fined £15 for telling a crowd of 700: “Hitler was right. Exterminate every Jew – every man, woman and child. What are you afraid of? There’s only a handful of police.”

Just two years after British troops had liberated Bergen-Belsen, the language of the Third Reich had resurfaced, this time at home. Anger about what had happened in Palestine was one thing, but it seemed to have unleashed something far more vicious.

Hidden history

Whitechapel, London, 2012. I am waiting outside the library – a glassy new building just up the high street from the Victorian edifice where a generation of self-educated Jewish intellec­tuals and artists congregated in the early years of the 20th century – to meet Max Levitas. It’s a Thursday afternoon and I have interrupted his weekly ritual: a trip to the Turkish bath in Bethnal Green, a walk that Levitas still makes, alone, at the age of 97.

Born in Dublin in 1915 to Jewish refugee parents from the Baltic, Levitas has lived in White­chapel since 1930. In 1947 when the rioting erupted, he was a local councillor and member of the Communist Party. Although London was spared riots on the scale of those in the north, he recalls how the hanging sergeants incident compounded “animosity” towards Jews in the East End. “I opposed the hanging when I spoke at meetings, but the main fight was dealing with racism that foreigners were getting jobs and Jews were getting jobs.”

This was one sign that the anti-Jewish feeling had a deeper source than any act of terrorism in the Middle East. Postwar austerity was at its harshest. Contrary to the cheery “Keep Calm and Carry On” nostalgia with which the period is recalled today, it was a time of hunger and poverty. A fuel shortage during the winter of 1946-47 had led to soaring unemployment; in the spring of 1947 it peaked at 1.9 million. Hopes that anti-Semitism, which had re-emerged during previous economic downturns, would have disappeared with the defeat of Hitler were short-lived. Instead, as the historian Tony Kushner has written in an essay on the links between austerity and the 1947 riots, a popular stereotype persisted of Jews as “black marketeers gaining from the war but not contributing to the effort”. The extension of rationing kept the stereotype alive. Ernest Bevin, the foreign secretary, had made remarks about the Jews of Europe “pushing to the front of the queue” and during the fuel crisis he made a quip about “Israelites”, insinuating that Jewish black marketeers were hoarding fuel. Worse still, Jewish loyalty over Palestine was being questioned openly. In the opening days of 1947 the Sunday Times had addressed an editorial “to British Jews” in which the paper accused them of failing to perform their “civic duty and moral obligations” by denouncing the anti-British violence in Palestine.

In Glasgow, Liverpool and Manchester, where the worst rioting took place, the downturn was at its most painful. These cities had the highest levels of unemployment in Britain and even though the disturbances initially targeted the Jews they quickly progressed to generalised looting. “Get the Jews, get the stuff and get into the shops,” was one shout heard in Manchester. Not for the first (or last) time, racism and economic exclusion combined and formed a poisonous resentment.

Levitas had been part of the crowd that faced down Oswald Mosley’s Blackshirts on Cable Street in the East End in October 1936. Like many trade unionists, he was alarmed at the resurgence of violence. “There was a feeling that we’d just had a war against fascism, and that we’d got to ensure that the fascists didn’t do again what they did in the Thirties.”

Although the violence in 1947 was not orchestrated by fascist political parties, it emboldened the remaining adherents. Jeffrey Hamm, a former member of the British Union of Fascists who was now in charge of the League of Ex-Servicemen, visited the north-west of England and attempted to stir up trouble. Fascists displayed copies of the Daily Express’s “hanging sergeants” front page at their meetings. And in 1948 Oswald Mosley, who had been interned in Holloway Prison during the war, launched a new party, the Union Movement.

At the end of the war, 43 Jewish ex-servicemen had set up a clandestine group to infiltrate fascist meetings and break up their opponents’ rallies by fighting in the street. The 43 Group was the first of several such organisations. Levitas believes that one reason the fascists were kept at bay, and why east London stayed relatively calm through the late 1940s, is that the lessons of the 1930s had been learned.

“Only through the integration of society could we play a major part in stopping racism,” he told me. For him, this “integration” went beyond anti-fascist protest; it involved “people demanding for themselves jobs, housing and education for their kids. To ensure that whatever religion you’ve got, whatever your colour, you play a part in society.”

“National disgrace”

On 5 August, four days after its sensationalised coverage had triggered the riots, the Express appealed for calm. “No more of this!” it implored readers, arguing that the attacks on innocent shopkeepers had become a national disgrace. In Manchester, the violence had subsided, leaving an ugly atmosphere. “For the rest of the week,” Lever recalled, “one overheard behind one in the bus, over one’s shoulder at the next café table, a row ahead in the cinema, whispering anecdotes and muttered abuse relating to the events of the Sunday night.”

A dividing line had been drawn through daily life where none appeared to exist before. Rachel Barash, who had worked for the Jewish “hospitality committee” that brought refugee children over from Germany and the Netherlands during the 1930s, remembered how the riots sparked a “nasty” stand-off between boys from rival youth clubs. Until that point, the refugees, who were housed in the suburban village of Withington, had been welcomed and treated as “our children” by their neighbours. Now Jewish boys across Manchester gathered together, ready to defend themselves.

Yet the tension dissipated almost as quickly as violence had surged: in the words of another Manchester resident, Agnes Sussman, “It all passed over as if nothing had happened.” Today, there is little mention of the riots in the official histories. There are only a couple of academic essays beyond Kushner's study, and the violence in Liverpool forms a backdrop to the play Three Sisters on Hope Street, the 2008 retelling of Chekhov by Diane Samuels and Tracy-Ann Oberman. Elsewhere, they are viewed as an insignificant footnote to the story of the creation of the state of Israel.

Why have the riots been forgotten? According to Dave Rich, deputy director of communications at the Community Security Trust, a charity established in 1994 to ensure the “safety and security” of British Jews, one reason was that there were much bigger things to worry about then. The full horrors of the Holocaust were still coming to light; efforts to establish the state of Israel were ongoing; and in Britain, for Zionist and non-Zionist Jews alike, there were more pressing economic concerns. “Given that few people were actually hurt in the riots,” Rich says, “it’s understandable that, in the wider picture of what is on the mind of Jews at that time, it would very quickly get relegated.”

British politicians, too, were keen to sweep things under the carpet. James Chuter Ede, the postwar home secretary, dismissed the rioting as mere “hooliganism . . . rather than an indication of public feeling”, while magistrates condemned rioters as “un-British” and “unpatriotic”. Nations need their feel-good stories and as Rich points out, “The thought that those popular anti-Jewish riots could happen two years after the Holocaust in Britain . . . runs counter to the anti-fascist mythology of Britain’s role in the war. Who wants to go digging that up?”

Yet the riots were neither an aberration nor the product of an unruly working class. Britain was experiencing an identity crisis: it had won the war but appeared to be losing the peace, with recession at home and the break-up of its empire abroad, in which the events in Mandate Palestine played only a small part. As colonised peoples increasingly demanded independence, Britain turned to a more inward-looking nationalism. Along with it came the question of who would be included and who would be left out.

In 1948, with cross-party support, the Labour government passed the British Nationality Act, marking a shift from a situation where all those living in the empire – in theory, although quite evidently not in practice – were equal subjects under the Crown to one where each country in the Commonwealth could determine its own version of citizenship. Although in the years to come it would be non-white immigrants from the Commonwealth who would most strongly challenge received notions of Englishness and Britishness and who would bear the brunt of racism, Jews, too, were caught up in this, for a brief period.

There is one other reason why this episode is worth remembering. On the face of it, there are striking similarities with the way modern Britain has responded to Islamist-inspired terror. Now, as then, events in the Middle East have violent repercussions on Britain’s streets. Home-grown terrorists have set off bombs in London; tabloid newspapers give sensationalist coverage to attacks on “our boys” fighting abroad and question the loyalty of British people of a different faith, this time Muslims. This in turn has provoked an angry backlash in the form of the far-right English Defence League.

At the same time, “integration” is a demand made of outsiders to adopt “our” values, to become more like us. In doing so, some of today’s integrationists hold up British Jews as a kind of “model community”. In 2006 at a ceremony to commemorate the 350th anniversary of Crom­well’s readmission of the Jews into England, Tony Blair told a congregation at Bevis Marks Synagogue: “As the oldest minority faith community in this country, you show how identity through faith can be combined with a deep loyalty to our nation.” Less was said about how we arrived at this point.

Yet it is best to see the events of 1947 as the end of a chapter rather than the beginning of one. A year later, the state of Israel was formed and Chaim Weizmann, who had lived and worked in Manchester, was appointed as its first president. Britain’s duplicitous conduct towards Jews and Arabs since it had taken control of Palestine in 1920, the dispossession of the Palestinians and the nasty guerrilla war were events that it suited both sides to pretend had never happened. Relations were soon “normalised” and nobody cared to recall the brief moment when the messy end to a colonial misadventure was played out on British streets.

Today Cheetham Hill, the old Jewish quarter of Manchester, is home to people of many faiths and none. Most of the old buildings were knocked down in the 1970s and one ornate former synagogue is now a clothing warehouse, its stained-glass Star of David window cracked and boarded up. But this is no cause for mourning; many Jews simply moved further up the road, taking their places of worship with them. At least 35,000 still live in Manchester, which has the largest Jewish population in the UK outside London. The “sergeants affair” is a fading memory, snatches of which are preserved on a handful of reel-to-reel recordings in local history archives. Yet somewhere amid the ghostly swirl of recollections, a painful irony remains: one of the murdered soldiers, Clifford Martin, was Jewish.

Thanks to the Manchester Jewish Museum

Tony Kushner's essay "Anti-Semitism and austerity: the August 1947 riots in Britain" is published in Panikos Panayi (ed.), "Racial Violence in Britain in the Nineteenth and Twentieth Centuries" (Leicester University Press, 1996)

Daniel Trilling’s “Bloody Nasty People: the Rise of Britain’s Far Right” will be published by Verso in September. Follow him on Twitter @trillingual

Daniel Trilling is the Editor of New Humanist magazine. He was formerly an Assistant Editor at the New Statesman.

This article first appeared in the 28 May 2012 issue of the New Statesman, Who speaks for British Jews?

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Starting Star Wars: How George Lucas came to create a galaxy

On the 40th anniversary of the release of the original Star Wars, George Lucas biographer James Cooray Smith shares the unlikely story of how the first film got made.

While making THX 1138 in 1970, writer/director George Lucas told composer Lalo Schifrin that he wanted to make a Flash Gordon picture, an updating of the 40s sci-fi serials that he’d enjoyed as a child. It would, however, be those serials not as they were, but how he remembered them as having been. When the rights to these proved unavailable, he began to work on original idea, hoping to create something similar, but which he would own himself.

In January 1973, after completing his 50s nostalgia picture American Graffiti but before its release, Lucas began his outline for this space adventure. The first line of this near-incomprehensible document was The Story of Mace Windu. Mace Windu, a revered Jedi-Bendu of Opuchi who was related to Usby CJ Thape, Padewaan learner to the famed Jedi.’

"Jedi" was a word Lucas had coined to describe a clan of warrior mystics who were essential to his story. A man whose fascination for Japanese cinema had become a general interest in Japanese cultural history, he’d named them after the branch of Japanese drama that drew moral and instructive lessons from stories set in the past – Jidai geki.

This version is set in the thirty-third century and features a teenage Princess, droids, an Evil Empire and a grizzled Jedi warrior, General Skywalker, whose plot role resembles Luke’s from the finished film, although his character is Obi-Wan Kenobi’s. It climaxes with a space dogfight and ends with a medal ceremony. Among the planets named are Alderaan (here the Imperial capital) and Yavin, at this point the Wookiee homeworld. Some characters from this draft (Valorum, Mace Windu) would eventually find a home in The Phantom Menace more than twenty years later.

By May Lucas had a 132 page script, The Adventure of Anikin Starkiller. Skywalker had acquired the forename Luke but was no longer the protagonist. This was Anikin (sic) Starkiller, one of the sons of General Skywalker’s old comrade, the partially mechanical renegade Kane Starkiller. Anikin had to protect a Princess, aided by two robots R2-D2 and C-3PO.

Lucas had worked backwards from Flash Gordon, looking to uncover the source of his appeal, hoping to transfer it to his own story. Once he’d worked his way through the comic strips of Gordon’s creator Alex Raymond, he tackled Edgar Rice Burroughs, Jules Verne and Edwin Arnold’s Gulliver on Mars. Conversations with his New Hollywood peers about the archetypes thrown up by his reading – and which he increasingly saw everywhere – brought him into contact with Joseph Campbell’s then newly published Myths to Live By (1972) an anthology of lectures and essays from a man who devoted his career to identifying the basic archetypal characters and situations which he felt underpinned all human mythologies.

"The book began to focus what I had already been doing intuitively" Lucas later said, an idea which seemed to him to itself reinforce Campbell’s contention that such archetypes and situations dwelled in a collective unconsciousness. Lucas expanded his reading to epics of all kinds, and began planning a visual style that would combine the vistas of Japanese master director Akira Kurosawa with the kind of static-camera realism which he’d used on American Graffiti.

Lucas wanted over-exposed colours and lots of shadows, but shot in a way that made them seem unremarkable. Seeing the Apollo missions return from the moon "littered with weightless candy bar wrappers and old Tang jars, no more exotic than the family station wagon" had illustrated to him the problem with every fantasy movie ever made. Their worlds never looked like people lived in them. His film would depict a "used future". Describing the aesthetic he’d sought to American Cinematographer he explained: "I wanted the seeming contradiction of…fantasy combined with the feel of a documentary."  To Lucas Star Wars wasn’t science fiction, it was "documentary fantasy".

There was only one studio executive Lucas thought had any hope of understanding what he was trying to do, Fox’s Alan Ladd Jr, son of the late actor. Like Lucas and his contemporaries in New Hollywood, Ladd was a man driven by a love of cinema. Lucas could communicate with him through a shared vocabulary, describe a planned scene as being like something from The Searchers (John Ford, 1956) or Fahrenheit 451 (Francois Truffaut, 1966) and be understood. Ten days after his presentation to Ladd, they signed a development deal. Fox agreed to pay Lucas $15,000 to develop a script, plus $50,000 to write the movie and another $100,000 to direct it, should it actually be made. American Graffiti associate producer Gary Kurtz was named as Producer for Star Wars, and received $50,000.

The script development money gave Lucas enough to live on whilst he continued work on the screenplay. As he did so it changed again; a ‘Kiber Crystal’ was written in and then written out. Skywalker became Deak Starkiller’s overweight younger brother before becoming the farm boy familiar from the finished film. Characters swapped names and roles. A new character named Darth Vader – sometimes a rogue Jedi, sometimes a member of the rival ‘Knights of Sith’ – had his role expanded. Some drafts killed him during the explosion of the Death Star, others allowed him to survive; across subsequent drafts his role grew. Some previously major characters disappeared altogether, pushed into a "backstory", Lucas choosing to develop the practically realisable aspects of his story.

This is an important clarification to the idea that Star Wars was "always" a part of a larger saga, one later incarnated in its sequels and prequels. That’s true, but not in an absolutely literal way. Star Wars itself isn’t an excerpted chunk of a vast plotline, the rest of which was then made over the next few decades. It’s a distillation of as much of a vast, abstract, unfinished epic as could be pitched as a fairly cheap film to be shot using the technology of the mid 1970s. And even then much of the equipment used to make the film would be literally invented by Lucas and his crew during production.

In August 1973 Graffiti was released and became a box office sensation, not only did the profits make Lucas rich (he became, at 29, a millionaire literally overnight) its success meant that Lucas was able to renegotiate the terms of his Fox deal. Rather than making demands in the traditional arenas of salary and percentages Lucas wanted control of the music, sequel and merchandising rights to his creations. Fox conceded him 60 per cent of the merchandising, aware of its potential value to them, but eventually agreed that Lucas’s share would rise by 20 per cent a year for two years after the film’s release. Few films made money from spin-off products for a whole 24 months, and Star Wars would surely be no different. Lucas got the sequel rights as well, albeit with the proviso that any sequel had to be in production within two years of the film’s release or all rights would revert to Fox.

Most important amongst Lucas’ demands was that, if it went ahead, he wanted the film to be made by his own company, not by Fox. That way he could control the budget and ensure all charges and costs made to the production were legitimately spent on the film. The experience of watching Mackenna’s Gold being made while a student on placement a decade earlier had taught him just how much money a studio could waste, and on a film like Star Wars – which was both ambitious and would inevitably be under-budgeted – it was crucial that this did not happen. Control of the music rights also had a sound reason behind it. Universal were making a fortune out of an American Graffiti soundtrack that was simply a repackaging of old hits featured in the movie. Of the profits of this Lucas saw nothing despite having selected the tracks featured and fought long and hard for their inclusion in his film.

In March 1975, Ladd took Lucas’ draft to the Fox board. They passed it and budgeted the film at $8.5m. Characters bounced in and out of that script right up to the preparation of the shooting draft, dated 15 January 1976. This was tailored to be as close to the film’s proposed budget as possible, and contain as many of the ideas, characters and situations Lucas had spent the past few years developing as he considered feasible.

This draft is the first version of the script in which Kenobi dies fighting Vader. Previously he had been injured, but escaped with Luke’s party. Alec Guinness, who had already been cast, was initially unhappy with this change, but was persuaded by Lucas that a heroic death followed by appearances as a spectral voice would prove more memorable to audiences than his spending the last third of the film sitting on Yavin whilst the X-Wings went into battle.

Filming began on location in Tozeur, Tunisia on 22 March 1976. Before shooting Lucas sat his crew down and made them watch four films which he felt between them defined what he was after in Star Wars. Stanley Kubrick’s 2001 (1969), Douglas Trumbull’s 1975 Silent Running, Sergio Leone’s Once Upon a Time In the West and Fellini’s Satyricon (Both 1969). The Leone picture was full of the sun-blasted vistas Lucas wanted to evoke for Tatooine, and the Fellini film, with its aspects of travelogue and attempts to portray an entire society in a fly-on-the-wall manner gave an idea of the "documentary fantasy" approach the director was so keen on. All four films shared one vital element: they’re windows onto lived-in worlds remarkable to audiences but regarded as ordinary by the film’s characters.

The first scenes shot for Star Wars were those of Luke buying Artoo and Threepio from the Jawas outside his foster parents’ home. Producer Kurtz had allowed 11 days for the shoot, after that a borrowed army C130 Hercules was scheduled to pick up the cast and crew.

A few days into shooting, creature make-up man Stuart Freeborn was taken ill and had to be flown back to Britain where he was diagnosed with pneumonia. Other crew members contracted dysentery. On 26 March Tunisia experienced its first winter rainstorm for half a century, damaging equipment and exterior sets delaying filming of key scenes.

Lucas wanted the stormtroopers to ride ‘dewbacks’, dinosaur-like domesticated beasts that allowed the troops to move across the desert. One dewback was built, out of foam rubber stretched over a wire frame. It could only be used in the background and no one was ever seen riding one. The other live animal Lucas wanted to portray was a Bantha, a huge horned, shaggy beast reminiscent of a prehistoric mammoth. It was to be the mode of transport for the Tusken Raiders, faintly Bedouin, vaguely mechanically-enhanced humanoids who attacked Luke in the Jundland wastes. In the end, creating the beasts proved impossible, and while they were referred to in dialogue in scenes that were shot (‘bantha tracks…’) none of their sequences were lensed.

As hard as the shoot was on Lucas, he at least had an idea of what he was trying to do and how it would all fit together. The actors, suffering stomach troubles, sunburn and long days, were less clear. Anthony Daniels trapped inside an almost immovable fibreglass body suit suffered the worst. Twenty five years later he would give credit for helping him to get through the Tunisia filming to Alec Guinness. "He was incredibly kind to me…I firmly believe that I wouldn’t have completed that arduous task of shooting without him."

Once the Tunisian shoot was over, the cast moved to EMI Elstree Studios in Borehamwood, outside of London. Star Wars was being made in the UK because it wasn’t possible to shoot the film in Hollywood at that time, not that Lucas – with his lifelong disdain of LA itself – wanted to anyway. Star Wars required nine stages simultaneously, something that no Hollywood studio complex could guarantee at anything like sufficient notice. In March 1975 producer Kurtz had flown to Italy to look at studio space, but found nothing suitable. He then caught a plane to London, where Lucas joined him.

Together they scouted UK film studios. Pinewood was a possibility, but management insisted Lucasfilm hire their technicians, a condition which became a deal-breaker. Neither Shepperton nor Twickenham had enough sound stages (although the giant Stage H at Shepperton  - bigger than any stage at Elstree – would ultimately house one scene of the film) which left only EMI Elstree. Then losing £1 million a year, Elstree was being kept open more or less on the insistence of Harold Wilson’s government, whose allies in the Trades Union movement considered the closing of the facility unconscionable. Elstree had no staff, and anyone who wished to rent it had to supply their own technicians and much of their own equipment. Off-putting to many, it sealed the deal for Lucas and Kurtz, who wanted to move their own people in. They hired the facility for seventeen weeks starting at the beginning of March 1976.

To design and build the sets needed to turn to Elstree into a realisation of Lucas’s screenplay they hired John Barry, a British designer who had worked under Ken Adam on Barry Lyndon (Stanley Kubrick, 1975) a film Lucas admired enough to hire its costumier John Rollo as well.

Elstree’s two largest stages were given over to Mos Eisley Spaceport and the interior of the Death Star. Both the Mos Eisley hangar bay and the one inside the Death Star which replaced it on the same stage were constructed around the full size Millennium Falcon set created by John Barry’s protege Norman Reynolds. Built by Naval engineers at Pembroke Dock, Wales it was 65 feet in diameter, 16 feet high and 80 feet long. It weighed 23 tonnes.

The absence of Stuart Freeborn, still recovering from Tunisia, meant that most of the aliens seen in the Mos Eisley cantina sequence were completed by assistants and lacked any articulation at all. Unhappy with the scenes as shot, Lucas resolved to do to re-shoots back in the USA.

The last scenes to be shot were for the opening battle, as Vader and his stormtroopers boarded the blockade runner. With little time Lucas used six cameras, manning one himself (Kurtz manned another) and shot the sequence in two takes. The six cameras produced so many different perspectives on the action that even the duplicated events that are in the film are unnoticeable. The finished sequence, chaotic though the creation of it was, is amongst the best put together moments in the movie, a superb evocation of Lucas’ documentary fantasy approach, and the cameras dart in and out of the action like reporters shooting newsreel footage. Virtually the first live action seen in the picture, its style later went a long way towards convincing audiences that what they were seeing was somehow real.

Principal photography completed on 16 July 1976, although some re-shoots and pick up shots for the Tatooine sequences were undertaken in Yuma, Arizona in early 1977. Amongst those scenes shot were those featuring the Banthas. Lucas borrowed a trained elephant from Marine World, and had it dressed to resemble a more hirsute, fearsome pachyderm. Mark Hamill was unavailable to participate. He’d crashed his car of the Antelope Freeway in LA shortly before and was undergoing painful facial reconstructive surgery. Although Hamill should have been involved in the re-shoot, in scenes of Luke’s landspeeder moving across the desert, Lucas had no choice but to film them without him; he took a double to the shoot, dressed him in Luke’s costume and put Threepio in the foreground. Also re-shot, over two days in La Brea, California, were portions of the cantina sequence. New cutaways and background shots were filmed to be inserted into the Elstree footage in order to eliminate as of the unsatisfactory masks as possible.

While supervising editing of the film Lucas experienced chest pains, and was rushed to hospital where he was treated for a suspected heart attack. He was later diagnosed with hypertension and exhaustion, both exacerbated by his diabetes.

Fox were by now trying to book Star Wars into cinemas, and had picked a release date in May, long before the 4th July public holiday, long regarded as the opening weekend of summer. Fox wanted $10m in advance bookings for Star Wars, desperate to recoup an investment that internal studio sources had now decided was foolish. They secured less than $2m, and achieved that only by implying to theatres that they wouldn’t be offered Charles Jarrot’s much-anticipated The Other Side of Midnight if they didn’t sign up for Star Wars too. Before its release several exhibitors complained at this "block booking" and filed suits; Fox was later fined $25,000 for the practice, punished for forcing cinemas to agree to show something which was, by the time they paid the fine, the most financially successful movie ever made.

In early 1977 Lucas screened Star Wars for a group of friends, it was nearly finished – although the opening crawl was longer and many of the special effects shots were absent, represented instead by sequences from World War II films and real combat footage shot by the USAF. Among those present were Brian De Palma, Alan Ladd Jnr, Steven Spielberg and Jay Cocks. Martin Scorsese had been invited but troubles editing his own New York, New York meant he didn’t turn up.

De Palma hated Star Wars, and spent the post-screening dinner rubbishing it to anyone who would listen. Others present were unsurprised, De Palma had behaved in the same way during the group screening of Scorsese’s’ Taxi Driver; laughing loudly through Cybill Shepherd’s conversations with Robert de Niro, and at one point shouting "Shit!" halfway through a tense scene. Only Spielberg seemed impressed, and told Lucas that he thought Star Wars would take $100m. Lucas pointed out that nothing took $100m, and countered that Spielberg’s Close Encounters of the Third Kind would do better at the box office. The two directors wrote what they considered realistic estimations of what each other’s film would make in its first six months of release on the inside of matchbooks, which they then traded. By the time Lucas got round to opening Spielberg’s matchbook and saw the figure $33m in his friend’s scrawling hand Star Wars had already made ten times that.

Odd as it seems now, when every blockbuster is prefaced by months of breathless, unrelenting media "enthusiasm", Star Wars wasn’t released on a wave of hype or accompanied by an extensive marketing campaign. It was released (on 25 May 1977) to thirty-two screens, after a barely publicised premiere at Mann’s Chinese Theatre in Hollywood. It made $2.8m in its opening week, but didn’t receive a nationwide release for two months. Despite almost unprecedented success in preview screenings, Fox were still unsure of what to do with Lucas’ bizarre children’s film. Indeed it, only got a Hollywood opening at all because William Friedkin’s Sorcerer – which had been intended for this slot at Mann’s – wasn’t finished.

So negative had advance feeling about Star Wars been that Lucas left the country; he was still in LA on opening day, finishing the sound edit (he was unhappy with the copy playing downtown, and unknowingly embarking on a lifetime of revising his movie) but the next day he and his wife (and Star Wars film editor) Marcia flew to Hawaii, where they were joined by friends, including Spielberg and Amy Irving. It was an attempt to escape what Lucas felt would be the inevitable terrible reviews and wrath of the studio. Even when Ladd called him to share his excitement over the movie’s colossal opening weekend, Lucas was unmoved; all movies labelled science fiction did well in their first few days due to the business attracted by the neglected fanbase for such things. It was only when the film continued to do outstanding business and was expanded to more and more theatres that Lucas considered returning early from his holiday, and began to realise that the film he’d just delivered had changed his life.

As "Star Wars" expanded into more cinemas, and people began to queue round the block to see it, shares in Fox climbed from well under $10.00 to $11.50 each; over the next three months the value rose to $24.62, nearly trebling in price, such was the film’s value to the embattled studio. It was a magnificent vindication for Alan Ladd Jr, who had more than once had to intervene to stop colleagues closing down the film’s production completely. He had never lost faith in Lucas and his bizarre idea, but he was virtually the only person employed by Fox itself who hadn’t.

Just a few weeks before, as the end of the financial year approached, Fox had tried, and failed, to sell its investment in Star Wars to a German merchant bank as an emergency pre-tax write off.

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