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Two sides of the Coin

As Barack Obama and Gordon Brown prepare to invest extra troops in the latest attempt to defeat the

"Strategy without tactics is the slow road to victory," wrote Sun Tzu in The Art of War, "but tactics without strategy is the noise before defeat." Stanley McChrystal, the top US military commander in Afghanistan, would do well to heed the words of the ancient Chinese general.

McChrystal is a lead member of the counter-insurgency (or "Coin") brigade that now dominates the US national security establishment. Coin theory emphasises a "population-centric" over an "enemy-centric" approach. It disinters the language of "clear, hold and build", resonant of the Vietnam era, and describes soldiers and marines as "nation-builders as well as warriors" (to borrow a phrase from the US army's much-lauded 2006 counter-insurgency field manual, co-authored by the celebrated General David Petraeus). Coin is predicated on the idea that it is possible to win supporters for an insurgency by providing security and basic services, and ensuring the presence of a strong, legitimate government.

Or, as McChrystal put it, in a memo to President Barack Obama leaked in September: "This new strategy must . . . be properly resourced and executed through an integrated civilian-military counter-insurgency campaign that earns the support of the Afghan people and provides them with a secure environment." Without extra troops, said McChrystal, the mission "will likely result in failure".

Critics of the new focus on counter-insurgency theory claim it is a tactical gimmick that enables policymakers to avoid thinking long and hard about what the endgame in Afghan­istan will actually look like. It is not a recipe for winning the war in the long run, they say; it is only for avoiding defeat in the short run.

“Coin doctrine is, at best, a collection of tactics that may or may not apply to a given situation," says Celeste Ward, a former deputy assistant secretary of defence under George W Bush. "But because of the absence of real discussion about US strategy and priorities, Coin has been elevated to the status of a strategy."

Coin's popularity, Ward told me, is that it "offers a framework that is palatable to people from very different political points of view: there is a unity of vision among both neocons and traditional Democrats". The former are excited by its emphasis on more troops, the latter by its focus on winning "hearts and minds" and "nation-building". It is for this reason, she says, that in Washington, DC today "counter-insurgency is king".

The proponents of Coin - or "Coinistas", as they have come to be known - point to the success of the 2007 US military "surge" in troop numbers in Iraq under the leadership of General David Petraeus, which they credit with reducing the levels of violence and insurgency across the country.

It is this "surge narrative" that has emboldened the Coinistas, but traditionalists, such as Colonel Gian Gentile, director of the military history programme at the US Military Academy at West Point, remain unconvinced.

The dramatic drop in violence in Iraq was the result of "a decision by senior American leaders in 2007 to pay large amounts of money to Sunni insurgents to stop attacking Americans and join the fight against al-Qaeda", says Gentile, who remains an outspoken critic of Coin despite being an active-duty officer. "Coupled with this was the decision by the Shia militia leader Moqtada al-Sadr to refrain from attacking coalition forces."

Gentile, who commanded a cavalry squad­ron in west Baghdad before the surge, says his "fundamental mission was to protect the people" and the "overall methods that the US army employed at the small-unit level where [he] operated were no different from the so-called new counter-insurgency methods used today".

Aside from the Iraq surge, Coinistas also point to earlier examples from history where counter-insurgency methods seem to have succeeded - in particular, the British colonial experience in Malaya (now Malaysia) between 1948 and 1960.

“Malaya is the 'gold standard' for Coin," says the historian Michael Vlahos, a member of the national security assessment team at Johns Hopkins University. But, he argues, this is a mistaken view: the Chinese Communist insurgents were a tiny and unpopular outside movement removed from the population, the British had a close and credible relationship with the ruling princes, and the local people were politically passive. And, it should be noted, it still took the British a dozen years to prevail.

None of those favourable conditions holds in Afghanistan, where the war has now entered its ninth year. The Taliban represent a huge section of the Pashtuns, the country's largest ethnic grouping, who are largely unrepresented in the political and military establishment of the "new" Afghanistan; and neither America nor Britain is considered a friendly nation.

The Pashtuns are among the most fiercely tribalised and nationalist peoples in the world, united only against a foreign invader. The thread running through almost all insurgencies is opposition to foreigners. Sending more and more troops increases the size of the foreign footprint in Afghanistan, undermining the legitimacy of the host government. As even the US defence secretary, Robert Gates, has worried in the not-so-distant past: "Too many forces could look a lot like an occupation."

A numbers game

The Coin theory of "clear, hold and build" is manpower-intensive, relying on an increased number of counter-insurgents to maintain widespread law and order. The field manual emphasises the importance of "troop density", or the ratio of security forces to inhabitants: "20 counter-insurgents per 1,000 residents [or 1:50] is often considered the minimum troop density required for effective Coin operations".

The CIA estimates Afghanistan's population, as of July 2009, to be roughly 28.4 million. Thus, going by the 1:50 ratio, the size of the US-led coalition force would need to be approximately 568,000 troops.

The US military commitment to Afghan­istan stands at 68,000 troops. There are about 38,000 non-US troops in Nato's International Security Assistance Force (Isaf) also deployed in the country, including 9,000 from the UK. The expected US troop surge of up to 40,000 - the number McChrystal is said to be demanding - would take the total to only 146,000, or just over 400,000 troops short of the number needed to satisfy Coin's own textbook definition of "minimum troop density".

The Coinistas, however, claim that their ratio allows for the host nation's military and police forces to be included in the total figure.Would this make a difference? Even adding in the 97,000 Afghan police officers and the 100,000-odd Afghan soldiers leaves the Nato-led force more than 200,000 counter-insurgents short of the "minimum".

Furthermore, the Afghan National Army is plagued by desertion: 10,000 recruits have disappeared in recent months. Soldiers are under-equipped and underpaid; some 15 per cent of them are thought to be drug addicts. Dominated by Tajik troops from the north of the country, the "national" army has little or no credibility in the southern, Pashtun areas of Afghanistan, where the Taliban mainly operate, and from where they draw ethnic support.

Meanwhile, the Afghan police, one member of whom shot dead five British soldiers on 3 November, are prone to infiltration and corruption and lack proper training. They have lost roughly 1,500 staff to insurgent violence this year and around 10,000 policemen are absent without leave.

“The Afghan army is useless and the police are corrupt," says Dan Plesch, director of the Centre for International Studies and Diplomacy at the School of Oriental and African Studies. "So what does McChrystal propose? More useless troops and corrupt police. It's a counter-intuitive solution."

According to Plesch, there is a yawning gap between Coin theory and practice. "It's all fine on paper, but that doesn't translate into success on the ground," he told me. "You're still the foreign infidel with big boots on. You are still bombing, shooting and occupying."

But Coinistas are nothing if not optimistic, or even triumphalist. "Coin theorists tend to imply a kind of determinism: if Coin precepts are followed, the campaign can be successful," says Ward. Or, in the words of Vlahos: "Do this and then this, and at the right moment add this ingredient and . . . you win."

“For all its claims to novelty and modernity, Coin is eerily reminiscent of [the Napoleonic military thinker] Jomini at his worst - a list of prescriptive doctrines that claim to be valid for all times and places," says Colonel Douglas Macgregor, the retired senior military officer who commanded US cavalry troops during the first Gulf war.Macgregor, like Gentile, is critical of this latest plea from hawks to deploy US military force for utopian political ends. "We cannot 'fix' Afghanistan with military power, nor can we shape the destiny of hundreds of millions of Muslims living in the region. Only the people who live there can do that, because nations are built from within, not from without."

Taliban red herring

As a young officer in the Gurkhas, John Mackinlay experienced a conventional Maoist-style insurgency at first hand in the rainforests of North Borneo during the 1960s. But, as he argues in his new book, The Insurgent Archipelago, such experiences are of no use to modern counter-insurgents confronted with the threat of post-Maoist, globalised attacks. "Malaya is so long ago that it is not relevant," he told me.

“The Americans think they can take their fire extinguisher and go abroad to squirt some water, put out the blaze and go home," says Mackinlay, who teaches in the war studies department at King's College, London. "That's bollocks." The Taliban insurgency, he argues, is a red herring and sending more troops is a distraction. What matters, he says, is the al-Qaeda insurgency across the globe. Mackinlay distinguishes between what he calls an "expeditionary campaign" against insurgents in Afghanistan and the "domestic campaign" against extremists in the UK. His criticism of the obsession with Coin is that the domestic campaign should have "primacy" and that "the expeditionary campaign is antithetical to the domestic campaign, because it pisses off your average Muslim punter in Bolton".

The Taliban have no known interest in attacking mainland Britain (or America). Of the 15 major terror plots that UK security agencies have successfully prevented since 11 September 2001, none has been linked to Afghanistan. Of the 90 or so Islamists imprisoned in Britain on terrorism offences, not a single one hails from Helmand. On the contrary, Mackinlay tells me, "Afghanistan is the recruiting sergeant for what is happening in the UK."

As centre-left governments in the US and UK prepare to commit additional troops to the Afghan war effort, his words seem to go unheard. The Ministry of Defence plans to deploy 500 further British troops to the killing fields
of Helmand and seems to have signed up fully to America's Coin approach, even publishing the first UK counter-insurgency manual in eight years.

One retired British colonel who served in Iraq and Afghanistan is aghast. "It doesn't matter whether you send 500 troops or 5,000 troops," he says. "What is the point when there is no endgame and no exit strategy?"

Coin has become an oversimplified and superficial doctrine for fighting foreign battles, one that makes war a more attractive, easy and likely option, but is also enormously burdensome in troops and money. Nonetheless, such doctrines are seductive: Bill Clinton had liberal interventionism in Kosovo, George Bush fell back on neoconservatism over Iraq, and Barack Obama is on the verge of opting for Coin in Afghanistan.

Coin will not provide a silver - or even a lead - bullet in Afghanistan. And, even if its critics such as Gentile, Ward and Plesch are wrong, the counter-insurgency tactics of Petraeus and McChrystal in Kabul and Kandahar will do little to win hearts and minds here at home, or in the disaffected and alienated Muslim communities across Europe. It is this strategic truth that the Coinistas avoid at their peril.

John Mackinlay's "The Insurgent Archipelago" is published by C Hurst & Co (£20)
Mehdi Hasan is senior editor (politics) at the New Statesman
. Read his blog Dissident Voice

Mehdi Hasan is a contributing writer for the New Statesman and the co-author of Ed: The Milibands and the Making of a Labour Leader. He was the New Statesman's senior editor (politics) from 2009-12.

This article first appeared in the 30 November 2009 issue of the New Statesman, Left Hanging

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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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