One nation undivided under God

Up until 2005, Indonesia seemed sure to succumb to a wave of Islamist terror. But, in the post-Suhar

On the morning of 17 July 2009, the Dutch businessman Max Boon arrived at the J W Marriott in Jakarta for a monthly breakfast meeting organised by his consulting firm, Castle Asia. At 7.50am, as Boon and 17 other executives were sitting around a long dining table at the eastern end of the hotel, a man walked in and detonated a bomb strapped to his chest. Five minutes later, a second bomb exploded at the nearby Ritz Carlton. Nine people died and 52 were injured, including the young Dutchman, who had to have both of his legs amputated and suffered burns to 60 per cent of his body.

President Susilo Bambang Yudhoyono is said to have wept when, a month after the bombings, he received a letter from Boon, now in a wheelchair, congratulating him on independence day - 17 August. "He may have lost his legs," declared SBY (as the president is universally known), "but not his heart, spirit or mind." Jakarta newspapers later ran photographs on their front pages of Boon being ­embraced by Yudhoyono. "Indonesia is not a dangerous place to live," said the Dutchman, who announced his intention to stay on in the country and to marry his long-term Indonesian girlfriend.

The July 2009 attacks were not the first on symbols of western corporate power and affluence. The Marriott had been hit before, in 2003, as was the Australian embassy the following year, while bombs were set off on the tourist island of Bali in 2002 and 2005. Over 250 people died as a result of these attacks, all believed to have been orchestrated by Jemaah Islamiyah (JI), the south-east Asian terrorist group linked to al-Qaeda.

Despite being the fourth most populous country in the world, and the 16th-largest economy, Indonesia seldom features in the British media, except for the wrong reasons. Islamist terrorism. The massacre of Christians in East Timor. The western province of Aceh, on the island of Sumatra, making adultery punishable by stoning to death. Sharia courts handing down barbaric judgments, such as the one on a pregnant, married mother-of-two who was convicted of soliciting in 2006 - the evidence being that she had lipstick and face powder in her handbag as she waited for a bus home after work. The national parliament approving an anti-obscenity law that allows for sentences of up to ten years for "modelling" for pornography and four years for mere possession of pornographic material.

The impression is of a country teetering on the brink of extremism. The anxiety, expressed by the US senator Christopher Bond in his recent book The Next Front: South-East Asia and the Road to Global Peace With Islam, is this:

The region is home to one of the greatest concentrations of Muslims on earth . . . At 250 million, they outnumber the entire Muslim Middle East. The world's most populous Muslim-majority nation is Indonesia, 220 million [now 240 million], three times the largest Arab country, Egypt. But the Muslims of south-east Asia do not register in our mind's eye . . . Moderation is losing the high moral ground . . . Muslims we had considered moderate - or "mainstream" - began to take on the fundamentalist trappings of Arabs . . .

Bond concludes: "We can no longer afford this complacency and the ignorance it breeds." Yet, arriving at Soekarno-Hatta Airport, named after Indonesia's two greatest independence leaders (and retaining the old, Dutch spelling of Sukarno), visitors see little sign of religious affiliation of any kind. Far fewer women cover their head than in neighbouring Malaysia, where only 60 per cent of the population is Muslim, in contrast to Indonesia, with nearly 90 per cent. As you travel east into Jakarta, the city sprawls over a coastal plain of 255 square miles, from the docks in the north by the Java Sea down to the hills in the south. Mosques can be seen from the choked expressways, but the dominant architecture is of concrete, jostling for space with offices, malls and shiny new hotels.

Over coffee at the Pondok Indah Mall, Zuhairi Misrawi of Nahdlatul Ulama, the country's 30 million-strong Muslim organisation, advances a theory of startling moderation. "In NU we believe that the struggle for Indonesia is more meaningful than the struggle for Islam," he says, "because we love our country. It says in the Sunnah that to love your country is to believe in your God."

Zuhairi, who is 33 and trim in his crisp black and silver shirt, is not a member of the political party associated with NU, the National Awakening Party (PKB). Instead, in last year's elections, he stood for the secular, leftist Indonesian Democratic Party of Struggle (PDI-P), "to support the paradigm of nationalism through Islamic ideas".

It is hard to overstate the strength of nationalist feeling in Indonesia. This archipelago of 17,500 islands was united under the repressive rule of the Dutch, who established their first trading post on Java in 1603 but did not conquer the last parts of their East Indies colonies until the 20th century. While the British returned to Malaya and Borneo after the Second World War, the Dutch were not welcomed back in Indonesia. Two days after the Japanese surrender in 1945, Sukarno and Mohammad Hatta declared independence. The Netherlands' armies did not land until months later, and spent much of the following four years in a brutal attempt to reclaim their empire that outraged world opinion. During the chaos, various "independent" states were set up by the Dutch; both a Soviet republic and an Islamic state were briefly announced by other groups. Even after the Dutch finally departed and Sukarno declared a unitary state in 1950, the mainly Christian area of the South Moluccas proclaimed independence and rebellions broke out on the islands of Sumatra and Sulawesi.

Nationalism came to represent a "unity in diversity" - or bhinneka tunggal ika - that was as much an aspiration as an achievement for this multi-ethnic, multi-religious land. The words are the national motto, and are inscribed on the country's coat of arms. Two attempts to insert the Jakarta Charter - calling for sharia law to be made mandatory for all Muslims - into the constitution have failed, first in 1945, and again in 1998, during the transition to democracy after the fall of the Suharto dictatorship.

Faith has always been regarded differently here. "We are totally unlike Muslims in the Middle East and North Africa," Zuhairi tells me. "We even have to import our terrorists." He was referring to the JI leaders Azhari Husin and Noordin Top, both Malaysian, who were shot dead during police raids in 2005 and 2009.

Yet Middle Eastern fundamentalism has made inroads into Indonesian Islam, which is traditionally syncretic. "Before, many people were nominally Muslim, but really they were Hindu or animist," the PDI-P parliamentarian Budiman Sujatmiko says over dinner one evening at the Sultan Hotel, whose towers overlook the huge Gelora Bung Karno, the stadium in which President Obama was expected to have delivered a speech during a visit to Indonesia this year, twice postponed.

The language of fundamentalist Islam, whether being proposed by those who truly believe in it or by those merely using it for electoral advantage, is more widespread. "They are both the problem," Sujatmiko says. "Don't ask me which is better or worse."

The opportunists include the business-based Party of the Functional Groups - Golkar - which dominated the Suharto era. Elections were rigged in Golkar's favour, but the semblance of a vote allowed the dictatorship to claim the country was a democracy. Although its support has collapsed post-Suharto, it still won 14 per cent of the vote in the 2009 elections. Support for the key "fundamentalist" (that is to say, Islamist) Prosperous Justice Party (PKS) grew from 1.4 per cent in 1999 to 8 per cent last year.

For millennia, Hinduism, Buddhism and animism were the religions of the archipelago. Islam had arrived by the 13th century, but it never claimed all of the islands. Bali remains predominantly Hindu, while Christianity, brought first by the Portuguese and then by the Dutch, is widespread in the eastern isles. Even where Islam took hold, it overlay rather than obliterated pre-existing belief systems. President Suharto, who ruled from 1967-98, was a Muslim, but he also consulted a dukun, or soothsayer, and made much of his wife's royal lineage to draw on the mystical authority historically vested in Javanese rulers. One biographer referred to him as "Indonesia's last sultan".

Under Sukarno, who instituted "guided democracy" in 1957 (the last free elections before 1999 were held in 1955), and then Suharto, "the Indonesian state . . . was practically hostile to Islam", wrote Bahtiar Effendy, professor of political science at the State Islamic University, Jakarta. In consequence, Muslims adopted a "docile religious-political stance". The waves of radicalisation that swept through the Muslim world, first in reaction to the perceived failure of the pan-Arabist nationalist experiment in the 1970s and then, in the 1980s, after the Islamic Revolution in Iran, crashed into an impermeable obstacle in Suharto's authoritarian New Order (whose fervent anti-communism gained it such favour in the west that both the US and Australia backed his invasion of East Timor in 1975).

Although most of the population was Muslim, religion was expected to take second place to Pancasila, the five-pillared national ideology that includes belief in "one God" but deliberately does not specify which. Opposition of all kinds was firmly repressed, resulting in either banishment from the country, as in the case of the radical cleric Abu Bakar Ba'asyir (who later emerged as JI's spiritual leader), or internal exile, such as the thousands of suspected communists imprisoned on the penal island of Buru in the far east.

Then the unthinkable happened. The Suhar­to regime finally fell, brought down in the middle of the Asian economic crisis by demonstrations, riots, splits in the armed forces and an emboldened opposition. As the political sphere opened to all comers, a multiplicity of parties emerged: 181 between May and October 1998, 42 of which were specifically Islamic.

“We weren't prepared," says Zulkieflimansyah, chief economic strategist for the PKS. Zul and his progressive-minded allies, who want PKS to be inclusive and moderate, thought Suharto wouldn't step down until 2010. They weren't in place when the dictator fell, and the "seniors" who were - PKS has four cabinet ministers today - weren't so forward-thinking. "They were very influenced by the Muslim Brotherhood. So people said we were Taliban."

This impression was not helped by PKS's involvement in the passing of the very broadly defined anti-pornography law in October 2008, which was deemed a threat to the erotic dance cultures of Bali and Java and an attempt to impose Islamic values on the non-Muslim east. "Anything that supposedly raises the libido could be prosecutable," complained one protester at the time.

The Salihara arts complex, in the narrow, winding, low-rise streets of south Jakarta, is one place where the effects of the bill were feared - but never realised. Goenawan Mohamad, a renowned poet and founder-editor of Tempo magazine, says: "The trend to conservatism is unmistakable, more and more women wearing hijabs and so on. What's most worrying is the Islamic militants who might attack your theatre, or seize your books."

Tempo was twice closed down during the New Order. Goenawan's friends were jailed and one was kidnapped, never to be seen again. It must be unnerving to receive death threats. "The first time, yes," he says. "But after that, if I say something blasphemous, people go, 'He's not a famous Muslim intellectual, so what?'"

Goenawan, who is 69, mentions people's attachment to the Pancasila ideology and the strength it gives to those who oppose any attempt to curtail pluralism or free expression. It reaches back into a much older Javanese culture, which has always been very sensual. "It goes far deeper than Wahhabism," he says. "When we say 'unity in diversity', the Muslims can't say anything. We are an archipelagic culture. We have a lot of shores that have always been open to strangers."

Although Pancasila was used partly as an instrument of oppression under Suharto, it also exists to protect liberties.

The day I arrived in Jakarta, anti-government protesters paraded a buffalo named SiBuYa through the streets. The closeness to the president's initials, SBY, was not coincidental. "Under Suharto they would have been shot," Goenawan says.

Confidence may be widespread among Indonesians that their gentle tradition of Islam will endure. The outside world, however, worries. It is little more than a year since the bombs went off in Jakarta; today, hotels and shopping centres insist visitors pass through security scanners before entering. The early release of Abu Bakar Ba'asyir, jailed in 2005 in connection with JI terrorist attacks, infuriated Australia and the US. Detachment 88, the country's elite special force unit named in honour of the number of Australians who died in the first Bali bombings of 2002, has had great success in rounding up JI members. What was Indonesia doing releasing the group's spiritual leader so soon?

Goenawan says that criticism was mistaken. "It's good that he's out. Otherwise he would be a hero. Instead, he's a grumpy old man, a joke. Freedom helps. The Muslim Brotherhood flourished under Anwar al-Sadat because Egypt had no democracy. Only a small minority have ever voted for parties here that want an Islamic state. Democracy has the means to quell this."

Through pluralism and confidence in its own traditions, Indonesia, this nation state of 240 million people, offers a different model to the world of what it means to be a democratic, Muslim-majority country. There is unanimity that pursuing the goals of justice and alleviating poverty will ensure that the country's moderation is preserved.

The links with the Middle East will always persist, particularly through al-Azhar University in Cairo and the hajj to Mecca. Al-Azhar is generally considered the oldest university in the world and was historically the greatest centre of Sunni scholarship - so Muslims from Indonesia will always travel there to be educated in theology.

Indonesia has its own centres of Islamic scholarship and moderate networks of pesantren, or Muslim boarding schools. Saudis may fund mosques, it is argued, but the extremist ideology they hope to export along with the buildings fails to take root in a soil too rich and varied for dry, husky seeds from Arabia.

The US secretary of state, Hillary Clinton, for one, is optimistic. "As I travel around the world," she said during a visit to Jakarta in February last year, "I will be saying to people, if you want to know whether Islam, democracy, modernity and women's rights can coexist, go to Indonesia."

Zulkieflimansyah makes an even greater prediction. "If we can show that Islam and democratic values are compatible, we are confident the future of Islam can be written here in Indonesia," he says. "Otherwise there is no hope."

Sholto Byrnes is a contributing editor of the New Statesman.

Sholto Byrnes is a Contributing Editor to the New Statesman

This article first appeared in the 09 August 2010 issue of the New Statesman, The first 100 days

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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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