Graveyard shift

The construction of a museum of tolerance in Jerusalem – on the site of an ancient Arab cemetery – h

"You can't build a museum on the bones of our grandfathers and call it the Museum of Tolerance," Mustafa Abu Zahra told me, as we walked round what remains of the largest Arab cemetery in West Jerusalem. Beyond the trees and the stone tombs that cover the southern half of the cemetery, we could see the white metal fence that enclosed the construction site of a project that has aroused fierce opposition in the six years since its inception. Even its name seems a mockery of the spirit of religious co-operation that the city of Jerusalem - so central to the adherents of three related faiths - is supposed to represent: "It's not about tolerance or love between nations,' said Abu Zahra. 'It's about the violation of a sacred site."

I'd met Abu Zahra at his shop in the Musrara quarter. When I arrived, customers were drinking coffee in the front, and Abu Zahra was receiving visitors at a desk in a storeroom piled high with sacks of rice and tinned goods. Yet he is not just a shop owner and businessman: he is also mutawalli, or guardian, of Mamilla Cemetery. When his guests had left, he drove me round the walls of the Old City to his diminishing realm, amid the air-conditioned shopping malls and upmarket hotels of West Jerusalem.

The journey took only five minutes, but it exposed some of the cultural contrasts that inform the debate about Mamilla's future. Abu Zahra's shop sells everything from figs and spices to cornflakes and cleaning fluid, but once we'd left the market stalls and crowded streets around Damascus Gate, we found ourselves in a very different part of the city.

Mamilla used to lie on the edge of the impoverished no-man's-land that divided the Israeli and Jordanian sections of the city, but since Israel conquered and annexed East Jerusalem in the Six Day War of 1967, it has become a prime piece of land. Jerusalem's best-known hotel, the King David, is 200 metres up the hill; the Waldorf Astoria group is investing $100m (£60m) in another luxury hotel on the street that runs along its southern border. The American consulate in West Jerusalem and Mamilla Mall lie within sight of its gates.

It is probably not surprising that Mamilla's paved avenues, dusty paths and open spaces have gradually been eroded. In 1958, ten years after the state of Israel came into being, its western half was appropriated for Independence Park, and in 1964 a multi-storey car park was built on its northern edge. Yet it is the plan to build the Museum of Tolerance where the car park used to stand that has piqued those such as Abu Zahra, who sees it as nothing less than an attempt to erase the history of the Arab presence in Jerusalem.

The Museum of Tolerance is being developed by the Simon Wiesenthal Centre (SWC), an "international Jewish human rights organisation", named after the renowned Austrian Nazi-hunter. It already owns the Museum of Tolerance in Los Angeles and the Tolerance Centre in New York; in 2004, it inaugurated the Museum of Tolerance in Jerusalem at a ceremony attended by Arnold Schwarzenegger, governor of California and the son of an Austrian policeman who joined the Nazi Party in 1938. The celebrity architect Frank Gehry designed a flamboyant building in steel and glass, but the initial phases of ground-breaking and construction unearthed several hundred skeletons.

Religious and civic organisations demanded that the SWC abandon work and seek another site. The waqf, or religious trust, which is responsible for Mamilla, petitioned the high court to stop the building work, as did a human rights organisation representing three Jerusalem families whose ancestors are buried in the cemetery. In February 2006 the court issued an injunction, and work stopped for two years. But on 28 October 2008 the high court ruled that it could resume, and placed the onus on the Muslim authorities to accept the SWC's offers to reinter the remains elsewhere, clean up the modern Muslim cemetery to the south of the site and establish an appropriate monument to those who were buried there.

Rabbi Marvin Hier, the dean and founder of the SWC, claims that "all citizens of Israel" - Jews and non-Jews - would be the "real beneficiaries" of the decision. "Moderation and tolerance have prevailed. The museum . . . will be a great landmark promoting principles of mutual respect and social responsibility," he says. Others point out that the SWC campaigned for 15 years to remove a Carmelite convent from the grounds of Auschwitz, arguing that nothing should be built on the "single largest unmarked human graveyard in history", and say Mamilla should be accorded similar respect.

Rabbi Hier says the comparison is "ludicrous", not least because "the Arabs" did not treat the site as a cemetery when it was a car park. He maintains that the religious leaders of the Muslim community have ruled that the site was mundras, or abandoned, and says that in 1946 there were plans to build a university on the land. But critics say he has misread the nature of such schemes. According to Yehoshua Ben-Arieh, a professor of geography at the Hebrew University of Jerusalem who is one of the leading authorities on the city's recent history, they were "curiosities" that were never likely to be implemented.

Shattered stone

Besides, what the Mufti of Jerusalem might once have sanctioned is not the point, Ben-Arieh says: what matters is the way in which Israel is treating an important Muslim site located within its sovereign territory. Gershon Baskin, an Israeli Jew who runs a joint Palestinian-Israeli public policy organisation called Ipcri, recalls the reaction when Israel captured East Jerusalem in 1967 and discovered that many graves in the cemetery on the Mount of Olives had been damaged or destroyed.

“Imagine the outrage if the Palestinians were building a Museum of Tolerance - or anything else - on what was once a Jewish cemetery," he says. "Would it matter if the cemetery was not active and in use since 1948, or that it was being done legally?

“The Wiesenthal Centre project in Jerusa­lem is a disgrace to the Jewish people, the state of Israel and the city of Jerusalem. Shimon Wiesenthal would be turning in his grave if he knew what is happening in his name."

When construction at Mamilla resumed, several months after the high court verdict, hundreds more skeletons were exhumed and transferred to a mass grave. It wasn't possible to see what was going on behind the high white fence that sealed the perimeter of the site, but the British artist Sarah Beddington filmed from the windows of a nearby building for a video installation that featured in an exhibition called "The Other Shadow of the City".

Abu Zahra estimates that Mamilla is now a tenth of its original size, and the erosion of its borders is still going on. Recently, a section in the south-eastern corner of the cemetery, beyond the deep stone basin called Mamilla Pool, which was often used as a water source for armies besieging the Old City of Jerusalem, has been fenced off as a workman's yard, and the Jerusalem Municipality has begun storing rubbish bins in the south-west corner.

Even the few remaining graves are not safe: many of the headstones have been defaced or destroyed. "They have eliminated every stone here that has the name of the man inside, because they don't want anyone to claim them," says Abu Zahra. He believes that if the museum is built, it will not be long before the rest of Mamilla is appropriated by developers. "They will find a way to take more of the land, and step by step they will destroy the cemetery."

As we walked, he pointed out the shattered headstones of some of the tombs and translated some of the inscriptions on the few that remain intact. There was one commemorating the death of the "deceased martyr Ameen Abdelmo'ti Abu al-Fdel al-Alami, Sheikh and Imam" who died in 1346AH or "after Hejira" (AD1927), a reference to the Prophet Muhammad's journey from Mecca to Medina in AD581, which marks the beginning of the Islamic age.

Some people claim that Mamilla has graves dating to the era of Salah ah-din (or Saladin), who drove the Crusaders out of the Holy Land and recaptured Jerusalem, though archaeologists suggest most of them are no more than 400 years old. What no one disputes is that it contains the graves of sheikhs, imams, scholars, military leaders and members of the city's most important Arab families. "The name means 'a piece of heaven on earth', and it was a great honour to be buried there," says Raed Duzdar, whose ancestor is buried in the south-east corner of the plot, overlooking the site of the Waldorf Astoria hotel.

Ahmad Agha Duzdar was the Ottoman governor of Jerusalem between 1838 and the early 1860s. In 2005 the Turkish consulate helped Raed Duzdar renovate his grave. The tall, white stone, engraved with a red star and crescent and inscriptions in English and Arabic, was destroyed a few weeks later. All that is left of it is a few fragments of shattered stone.

Duzdar does not know who committed the act of vandalism, but he blames the authorities that allowed the SWC to develop the northern part of the site. "The government and the municipality say they're preaching tolerance, but they are allowing this ugly thing to be done to us in Jerusa­lem." He says that the sanctity of the cemetery is eternal. "No religion would accept the destruction of graves. It's very sinful."

Project stalls

Since the high court's verdict, Baskin has come up with various plans to stop the project. He was a signatory to another suit filed at the high court, claiming that the Israel Antiquities Authority, which prepared the site for construction, had misled the court about the number of burials it unearthed. Baskin has tried to persuade the Sephardi chief rabbi, Shlomo Amar, and his predecessor Ovadia Yosef, head of the ultra-Orthodox Shas party, to declare the site "unclean" because of the remains disinterred in the construction process.

Yet Baskin never held out much hope that any of the suits would succeed and began to fear that the museum was a "done deal". Yet last November, it seemed there had been an unexpected reprieve - work on the site appeared to stop, and the announcement that Gehry had left the project seemed to confirm it had begun to falter. The SWC maintains that it has spent the past two months removing pipes from the site. However, it has conceded that it is redesigning the project "to reflect today's world economic realities"; the budget has been cut from $250m to $100m, and the size of the complex has been halved. Rabbi Hier says that the SWC already has half the funds in place, and it will soon be holding a competition to find an Israeli architect to redesign the museum.

Gehry has denied that his decision to quit was prompted by "perceived political sensitivities", and Rabbi Hier refuses to acknowledge the anger over the destruction of Mamilla, saying that SWC members intend to "refocus all of our energies on bringing to Jerusalem, and the people of Israel, a project of crucial significance to its future". Baskin believes it will be a disaster if the rabbi succeeds, and yet, in some ways, the damage has already been done - no matter what happens next, the SWC will not be able to reinter the human remains dug from Mamilla. Nor will it be able to undo the offence it has caused the likes of Abu Zahra with its ill-considered attempts to spread "a message of tolerance between peoples".

Edward Platt is a contributing writer of the NS

This article first appeared in the 25 January 2010 issue of the New Statesman, Afghanistan: Why we cannot win this war

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