Show Hide image

‘‘There may have been no water, but the province was awash with guns’’

Reporting of the conflict in Darfur in the western media reproduces the spurious ethnic categories o

I first went to Sudan in 2003, the year that the insurgency began in the Darfur region of the country. Very quickly, I began to notice something distinctive in the way the western press reported the conflict in the province. I had written a book on the genocide in Rwanda, and academic papers on the conflicts
in eastern Congo and Angola. The global media had treated those events as if they had unfolded in the dark of the night. But not Darfur. Darfur was globalised from the outset and was made the subject of a media blitz.

There was an obvious reason for this. Darfur – unlike Congo, Angola and Rwanda – was the focus of a political campaign in the United States, the Save Darfur movement. But one of the effects of its becoming a domestic issue in the US was a series of distortions of the historical record.

The first concerned just how many people had actually died in Darfur at the height of the conflict in 2003-2004. This is the question that the Government Accountability Office (GAO), an audit agency of the US government, asked in 2006. The GAO got together with the US Academy of Sciences and asked a panel of 12 experts to assess the reliability of six different mortality estimates – from a high of roughly 400,000, from researchers linked to Save Darfur, to a low of between 50,000 and 70,000 by the World Health Organisation. The experts were unanimous that the high-level estimates were the least reliable and the lower figures generally more reliable. A broad consensus identified a WHO-connected research unit in Europe, the Centre for Research on the Epidemiology of Disasters (CRED), as the source of the most reliable estimate: 118,142.

The GAO report was sent to the US state department, which endorsed the findings. It then made its way to Congress and on to the GAO’s website. But the public availability of this in­formation had little effect on media reports of mortality rates in Darfur. Nor did it affect or temper in any way the claims made by Save Darfur, relayed in full-page ads in the New York Times and on subway and bus posters, that more than 400,000 people had died in Darfur, and that “the genocide [was] continuing”.

Then there was the question of how people were dying. The media rarely acknowledged that the number of dead in Darfur was not the same as the number killed. This is because there were at least two main causes of death: drought and desertification, on the one hand, and direct violence, on the other. The WHO attributed between 70 and 80 per cent of the deaths to the effects of drought and desertification, mainly infants and children who had died from diarrhoea and dysentery. Between 20 and 30 per cent was ascribed to direct violence.

Anyone who does research on mass mortality knows that there is not an impermeable wall between violence and disease. How many who died from disease could have been saved in the absence of violence? The CRED report talked of 120,000 “excess deaths”. “We estimate,” it read, “the number of violence-related deaths to be plus/minus 35,000.” The report further said that the “‘excess deaths’ can be attributed to violence, diseases and malnutrition because of the conflict during this period”.

Should all the deaths have been attributed to “the conflict during this period”, then? What about the drought and desertification which had preceded the conflict and would most likely outlast it? There was clearly a large margin of uncertainty, though you would never have guessed it from most media reports.

More recently, western outlets have taken to reporting figures from a 2008 speech by John Holmes, under-secretary for humanitarian affairs at the UN. Holmes gave a global figure of 300,000 civilian dead in Darfur since the insurgency began in 2003, which most media repeat without comment. His speech contained two qualifications, both of which have been largely ignored. First, he said that 200,000 had died in Darfur in 2003-2004 from “combined causes”. This could only be a reference, however oblique, to drought and desertification, besides violence. But where did he get the figure of 200,000, as opposed to the 120,000 from CRED? Second, Holmes said that another 100,000 must have died since, “assuming the same trend”. But why assume “the same trend” when ground-level UN reports suggested the opposite?

Darfur Timeline

1899 English and Egyptian forces agree to joint dominion over Sudan. In the following decades, closed districts are established and travel from north to south is restricted

1953-54 A British census deepens the divide, categorising the Sudanese as “Arab” settlers and “Negro” natives

1956 Sudan shrugs off British colonisation and declares independence

1987-89 Civil war erupts in Darfur as nomads and peasant tribes fight over fertile land

2002 Sudanese government and southern rebels sign ceasefire agreement

2003 Rebels in western Darfur claim neglect by the government and launch attack

2004 UN accuses Sudanese government of extensive human rights violations

2005 Power-sharing administration established in Khartoum but fighting continues

2009 International Criminal Court issues arrest warrant for President Bashir (pictured). War trials get under way

Research by Tara Graham

Reporters such as Julie Flint of the Independent who have spoken to UN ground staff in Darfur have reported on a sharp decline in mortality, to levels lower than 200 a month, from January 2005. In April, the UN Security Council received a report from the secretary general’s envoy to Sudan that deaths from violence in Darfur between January 2008 and April 2009 had averaged fewer than 150 a month; this was a “low-intensity conflict”, therefore, and no longer an emergency.

The media have also shown little interest in the historical roots of the conflict. Anyone who has worked in or on Darfur would know that the violence there unfolded in distinct phases, starting with the civil war in 1987-89. Darfuris talk of conflicts prior to 1987 as being mainly localised, arising principally from boundary disputes that were easily resolved at tribunals which agreed compensation for injury.

However, something changed in 1987: the civil war which began that year spread throughout Darfur, and was waged with unparalleled and unprecedented brutality. There were several reasons for this mutation in the nature and scope of the violence. The parcelling up of territory into tribal homelands by the British in the early 20th century into unequal areas of land – which favoured settled tribes and left the camel nomads of northern Darfur without a homeland – was exacerbated by drought and desertification. According to United Nations Education Programme studies, the southern rim of the Sahara expanded nearly 100 kilometres over four decades. The effect of this was to push the northern nomadic tribes southwards in search of better land. The result was an ecological struggle between nomads and peasants over the most productive land. Whoever controlled that land would survive.

The civil war in Chad that began with independence in the 1960s was also a factor. Chad subsequently became a theatre in the Cold War after President Reagan declared Libya a terrorist state in 1981, with the US, France and Israel lining up on one side, Muammar Gaddafi’s Libya and the Soviet Union on the other. With the government in control of N’Djamena, the Chadian capital, the opposition crossed the border into Darfur, from where it mobilised, retrained, rearmed and launched attacks. This meant when the civil war in Darfur began in 1987, there may have been no water, but the province was awash with guns.

For a year, I was a consultant for the Darfur-Darfur Dialogue and Consultation, a unit created by the African Union after the 2004 Abuja ceasefire negotiations. The DDDC carried out some research on the dynamics of the conflict. Its findings showed that the violence had spread over two axes: a north-south axis that pitted nomadic against peasant tribes, and an east-west axis, in the south, that led to two kinds of nomadic tribes – those with homelands and those without – confronting one another.

But Save Darfur, and the media in thrall, focused exclusively on the north-south axis, thus creating a further distortion – that this was a conflict between “Arab” and “African” tribes. In truth, the driving force of the conflict was not ethnic identity, but a search for land in an ecolo­gical crisis. Whoever controlled the land would survive the crisis; the losers would perish.

The racial categorisation of the population of Sudan as “Arab” and “African”, and the historical narrative according to which Arab settlers established mastery over African natives, began in the writing of British colonialists – from Winston Churchill’s journalistic The River War to the administrator-historian Harold MacMichael’s A History of the Arabs in the Sudan. This tradition lives on in the work of Sudanese nationalist historians of the post-independence period, as well as British academics. However, elements of a counter-history can be found in work done by American and British historians and anthropologists on specific locales (the sultanate of the Funj, for instance, or the Baggara of southern Darfur), and also that of Sudanese folklorists, whose focus was the tribal preoccupation with genealogies. What emerges from these alternative sources is that there was no “Arab” invasion of Sudan, and that there is no single history of the Arab presence in Sudan. There is hardly any connection, for instance, between the “Arabs” of riverine Sudan and those of Darfur. Indeed, if the former are associated with privilege and power, the latter are the most wretched of the Darfuri population.

The census carried out by the British colonial power in Sudan in 1953-54 divided the population between “Arab” settlers and “Negro” natives. It had three further categories: tribes, groups of tribes (referring to language groups) and races. Whereas in Rwanda, the basic category of colonial policy had been race, in Sudan – and Darfur – it was tribe. Race did not become an operative classification in Darfur until the civil war of 1987-89. This would later have a significant influence on media reporting of the insurgency and counter-insurgency that began in 2003.

For those trying to think how to resolve any seemingly intractable conflict, there are two paradigms available. The first is the Nuremberg paradigm, underpinned by two main assumptions: first, that justice will follow the emergence of a clear victor in the conflict, and would be administered as a form of victor’s justice; second, that yesterday’s perpetrators and victims should not have to face the challenge of living together in the same country – the survivors should instead acquire a new political identity in a separate state, as was the case with the creation of the state of Israel. There is an alternative, however, based on the recognition that neither of these assumptions holds for most conflicts in Africa. Without a separate state for yesterday’s victims, all must learn to live as survivors.

The attempted transition from apartheid is a good example. How do you convince adversaries that it is in their interest to stop fighting? The answer at the Kempton Park negotiations to end apartheid was clear: you don’t do it by prioritising criminal justice – threatening to take perpetrators to court – because the very people you would take to court are those you will have to rely on to keep the peace.

Kempton Park thus distinguished between political justice and criminal justice, and prioritised political justice for groups over criminal justice for individuals. The decision was taken not to put the leaders of apartheid on trial. The trade-off was a pardon for individual leaders in return for their agreement to a change of rules, a political reform that would give a second chance to the living. This was not victors’ justice, but what one might call survivors’ justice.

The South African experience is not an exception. The civil war in Mozambique, in which the Pretoria-funded Renamo resistance specialised in turning kidnapped children into victim-perpetrators, ended in much the same way. Renamo’s leaders now sit in parliament, not in court or jail. In Southern Sudan, too, criminal justice was set aside in favour of political reform. Why could the same not work in Darfur? Could it be because the area became a global cause célèbre after 11 September 2001?

There is an international dimension to the Darfur crisis, too. Current debates over how to end the conflict in Darfur have focused narrowly on the charges brought by the International Criminal Court against the president of Sudan, on a criminal and legal solution rather a political one. When the ICC judges ruled on the application filed by its prosecutor, throwing out the charge of genocide but not that of crimes against humanity, they were not issuing a verdict on the charges but responding to a different question: if the facts stand as presented, would the accused have a case to answer? The facts are not yet on trial, but they will be if President Omar el-Bashir ever presents himself before the court. In that case, many of the most widely trumpeted claims – of 300,000 dead, of a “continuing” slaughter, and so on – will turn out to be unreliable.

Moreover, it is clear that the question of accountability applies not only to the alleged perpetrators, but also to the putative enforcers of justice. Who is to hold them accountable? In the absence of adequate and effective political accountability, the risk is that the law will be privatised and used to implement a narrow and partial agenda. The UN Security Council, for instance, has the power to refer or defer cases to the ICC. And when the Indian government refused to sign the Rome Convention to join the ICC, its main objection was that the court’s prosecutor was highly unlikely to hold to account the permanent members of the very UN Security Council to which the court itself is formally accountable. Experience in the post-11 September 2001 era suggests that this fear was not groundless.

Global justice is a worthy goal, but it cannot exist without a political system that ensures global accountability. In the absence of accountability, claims made in the name of global justice will, as the philosopher Martin Buber once said of the system of trusteeship put forward by the League of Nations, be little more than cover for the exercise of imperial power.

Mahmood Mamdani is the author of "Saviours and Survivors: Darfur, Politics and the War on Terror", published by Verso (£17.99)

Creative Commons
Show Hide image

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.

0800 7318496