Inverness: the new Shangri-La?

It's the fastest-growing city in western Europe - a dazzling beacon of new opportunity and enterpris

"Vibrant, exciting and cosmopolitan. Fabulous mountain scenery. A very low crime rate, and the schools are excellent. Without doubt a great place to live and work . . ." Stuart Black, area director at Highlands and Islands Enterprise, sounds genuinely excited, as well he might. Inverness, the unofficial capital of the Highlands, is now the fastest-growing city in western Europe. Scotland's new Shangri-La is expanding at a dizzying pace.

The A9, the longest and most dangerous road in Scotland, stretches from the central belt to the Highlands, taking you through some of the most dramatic and awe-inspiring scenery imaginable - gnarled mountain ranges, pine forests, castles. Beyond Perth is a desolate and sparsely inhabited world until, roughly 120 miles further north, the road climbs steadily, curves to the right and there, somewhat out of the blue, is Inverness.

In 2001, the population was 51,000. In the six years since, it has climbed to more than 60,000, and there are plans to double it over the next three decades. In many ways, it is an extra ordinary success story in an area where depopulation is the norm. Two new towns, a huge business park and a new university campus are planned; a £20m culture and conference redevelopment is nearing completion; numerous cultural festivals are taking place; major golf courses are being designed; the airport is on course to reach its target of a million passengers a year. The city has a booming healthcare industry, boasting one of the world's leading centres for diabetes research.

You would expect a director of Highlands development to paint it as a picture of paradise, but there are many others who agree with him, es pecially the large number of "downshifters" and retirees who have swapped life in the south-east of England for the far north of Scotland.

On the outskirts of Inverness, plush Wisteria Lane-style housing developments have appeared. Spacious three- and four-bedroomed detached homes, which would cost millions in the south-east, are being snapped up for between £250,000 and £300,000.

Stuart and Alayna Robins moved to Inverness three years ago after 20 years in London working in the City and the civil service, respectively. They were able to sell up and, with the proceeds, buy a much bigger property, start a schoolwear clothing company and still have cash left over. "We got sick of the rat race," says Stuart, 42. "We got sick of the long hours, the constant commuting, not being able to drive anywhere, constantly being stuck in traffic jams."

Alayna, who is two years younger, loves the different pace of life. "I regularly go down to London to see friends and I can't wait to come back. My friends are all stressed out and depressed. Here you get the best of both worlds. It has the economy of a city, but maintains the feel of a town."

Indeed, the cobblestoned city centre is quaint, compact and, apart from some awful 1960s town-centre development, a singularly attractive place. The waterfront on the broad and silvery River Ness is undergoing a major revamp. The west bank is lined with a host of stylish restaurants, which might not seem at all out of the ordinary, until you remember that, until recently, the concept of "dining out" in Inverness amounted to little more than eating a fish supper on a bench after a night in the pub.

The new inhabitants

So change has come, but it is not just those from south of the border that regard this as their utopia. Although English incomers account for a significant proportion of the new inhabitants, the vast bulk of the influx is made up of im migrants from eastern Europe, mainly Poland. At least 5,000 (some say as many as 8,000) have flocked to these parts since 2004, when the Scottish Executive launched an aggressive marketing campaign.

Many of them are qualified professionals: teachers, engineers, social workers. The unemployment rate in Poland, however, is running at just under 20 per cent, and white-collar workers who manage to find work there earn only about £120 a month. Highly skilled Poles can earn more in a week at a Highland fish factory, on a building site or as a cleaner than they do in a month in schools and offices back home. And, despite their qualifications, that is exactly the sort of work that many are doing. The majority are here for the short term, earning as much as they can before they return home.

There are exceptions. Monika Gajda and Gab riela Cabaj, both 28 and both graduates, are employed by Orion Engineering, one of the world's leading oil-industry recruitment agencies. They are planning to settle long term in Inverness. Monika says the quality of life is far higher here. "I sometimes miss big-city life and the weather could be better, but here we don't have to worry about having enough money to pay bills and buy food."

Gabriela joined her husband, who is also from Poland, in Inverness two years ago. "I wouldn't like to live anywhere else," she says. "Life in general is much easier here than in Poland. It's a very nice and pretty area and Scottish people treat foreigners very well."

But naturally one person's heaven is another's hell. There are many native Invernessians who lament the loss of their old way of life. There is no doubt that the population boom has brought problems and there is, at least among a minority, a simmering resentment towards those who have relocated here.

Local people call this "Tescotown", such is the dominance of the retailer. With no competition from Asda or Sainsbury's, 51 pence out of every £1 spent on food shopping in the High-land region goes into a Tesco till. There are three superstores already in the city, and only after fierce protest have planners refused permission for a fourth.

This is the kind of place where people go home for lunch, resulting in the previously unknown problem of gridlock four times a day. The roads are often seething with traffic and the infrastructure is urgently in need of investment and modernisation. Road and rail links to Glasgow and Edinburgh are appalling, and with only one main road through the city, a journey that used to take five minutes can now take an hour.

Drugs and homelessness

Crime has also increased. For the first time, the police are threatening to use dispersal orders to tackle the growing antisocial behaviour problem in some of the more run-down parts of the city. Homelessness is another issue. Figures released in February showed a 200 per cent increase in the number of people living on the street. Although the council has a policy that requires 25 per cent of any new housing development to be made available for social and affordable accommodation, there is a sense that this is too little, too late. The manager of one housing association told me that, for the 11 new flats he had just been given, he had a waiting list of 400.

Drugs are another problem. Dealers from northern England, aware that Scotland's main cities are saturated, see the Highlands as an area of huge potential. Rarely a day passes with out news of a drugs bust at the bus station or on the A9.

There is also concern over the influx of Poles. Zosia Wierzbowicz-Fraser is a teacher at a secondary school in the city and the founder of the Inverness Polish Association. She is dismayed at what she sees as the gross exploitation, in many cases, of young Polish workers and feels many have been lured to the Highlands under false pretences.

She recounts horror stories of Poles sleeping in the bus station, under bushes, and five or six to a caravan, and claims there are unscrupulous landlords charging ex orbitant rents for dorm-style accommodation. "Some of these young Poles," she says, "are living like pigs."

Wierzbowicz-Fraser also says many highly qualified Poles who thought their skills would be put to good use have ended up doing menial jobs. "Poles will do the jobs that no one else wants to do," she says wearily. "They are excellent workers and they are so desperate for money, for a better standard of living, that they will never complain.

"They work the extra hours, the long hours, because, even at the minimum wage here, it is 37 per cent higher than in Poland."

There are, she says, some excellent employers who provide accommodation and language assistance for staff, but they are few and she fears that unless urgent action is taken to address this it will become a big issue.

But perhaps the biggest problem for Inver-ness and the Highlands as a whole is one that is rarely talked about: the stubbornly high and rising suicide rate among men. Young and middle-aged men in this area are three times more likely to take their own lives than their coun terparts in London. New Scottish Executive figures, published at the beginning of this month, showed that the male suicide rate across Scotland as a whole had risen by 22 per cent over a 15-year period, with the Highlands and the Western Isles suffering a disproportionately high rate.

End of a way of life

The researchers blame isolation, alcohol and drug abuse. Other experts have suggested the death of the old Highland way of life. Not long ago, women here raised the children while men supported their families as farmers or fishermen. Such traditional industries have all but disappeared, however, and it is often women who support the family, working in seasonal service industries, while men struggle to find employment and spend long periods on the dole.

There is also the fact that Highland men are notoriously proud and self-reliant. They would never dream of visiting their GP if they were feeling anxious or lonely, and it is still seen as a sign of weakness for a man to talk about emotional difficulties or to say he needs a helping hand.

Drugs and alcohol are undoubtedly another huge factor. Much of Highland life centres on drink, and there is a well-known local say- ing about man's relationship with the bottle: You've got an alcohol problem only if you're drinking two bottles a day instead of one. The most recent figures show that there were 50 suicides last year, and many more attempts.

John Burnside is the reluctant founder of the Inverness Suicide Awareness Group. A former psychiatric nurse-turned-publican, he lost his son, Richard, who was 36, to suicide three years ago. In the three months leading up to his death, two of Richard's closest friends, Ivor Robertson, who was 35, and Mark Thow, who was 40, had taken their own lives.

All three had known each other since primary school and had played for a local pub football team since 1998. They lived within walking distance of each other in Hilton, a housing estate on the outskirts of the city. Their deaths stunned Inverness. At Mark's funeral, Richard turned to his father and gave him some unexpected words of reassurance.

"Dad," he said, "I know I've caused you and Mum a lot of problems over the years, but that is one thing you don't have to worry about - because I would never dream of doing that. I couldn't."

Burnside put a comforting arm around his son and thought, "Thank God", because he didn't believe that he or his wife, Edna, would be able to cope. Three months later Richard, too, had hanged himself. Like Mark and Ivor, he left no note, so those left behind have had to fathom their own explanations.

His father says: "'Why' is the hardest question to answer. Richard had had long spells of unemployment and a painful relationship break-up. Drink was also a problem, but you never expect this."

These days, Burnside devotes his time to raising funds for suicide awareness and support. "Inverness used to be this lovely royal burgh where everyone knew everyone else and always had time to talk," he says. "That has gone. Everyone's rushing about trying to keep up with each other and feeling like a failure if they don't have the big house, the big car and all the material trappings.

"That is the story I'm hearing more and more often - our young men and women feeling like failures."

As the editor of the Inverness Courier told me: "This is no longer Brigadoon." To some, that is a blessing. To others, it is a curse.

Lorna Martin is Scotland editor of the Observer

See also What does Scotland mean to you? - a selection of interviews with Scottish personalities.

This article first appeared in the 26 March 2007 issue of the New Statesman, Scotland: Time to break free?

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