New dawn for the workers

Migrant cleaners at rich banks are today organising for a living wage. It's reminiscent of the 1889

Canary Wharf, London, 2004

The woman holding the leaflets clutches them tight against her duffel coat. At street level, Can ary Wharf is like a wind tunnel. The small group of activists in high-visibility bibs is dwarfed by the skyscraping headquarters of investment banks: Morgan Stanley, Lehman Broth ers, Barclays and tonight's target, HSBC. The activists are not supposed to be here; this is the new financial heart of London and even the public space is privately owned by the development company. They know they can be thrown off the street.

By day, Canary Wharf teems with men and women in suits; the average salary here is £60,000. During business hours, upwards of 80,000 people come and go, surrounded by glass, steel and sky, and the picturesque waterways that used to be London's main docks. By night, it is deserted, except for security guards, cleaners and this small group of Living Wage Campaign leafleters organised by the TGWU and the East London Community Organisation.

Those the leaflet is meant for arrive in small groups, by bus. They are the cleaners who sluice the toilets, dust the desks, swab the telephone mouthpieces with antiseptic wipes and empty brown apple cores from thousands of waste baskets. They are almost all migrants - not from the settled Caribbean and Asian communities of inner London, but from among the new arrivals: Somalis, Nigerians, Sierra Leoneans, Kurds, Col ombians, Iraqis, Afghans, Bolivians, Cubans, Spanish and Portuguese. Benedita Gonçalves, a Portuguese cleaning supervisor at a major bank, describes the way the cleaners are treated by the office workers: "The cleaners clean the rubbish and we are like rubbish for them - apart from some who work at night and start to know us and sometimes say, 'Good evening.' For the rest, we are no one.We are rats, we come in the night."

Migrant cleaners always talk about being "looked through" by office workers who don't see them as people, let alone workmates. In most cases they work for subcontractors and are not part of the core workforce. Cleaners also say they are always the first to be accused of stealing if something goes missing, but their recurring problem is an absence of respect. "I started my battle in the first week I was there," says Bene dita, "because the management were horrible. They showed lack of respect to the employees. Everything you did was wrong. They sent people home for no reason - just because they didn't need them. Another thing is the shouting, calling names, saying, 'You are crap; you are no one.' Something like that happened with me and so I started my battle against them."

For Juan Rodriguez, the biggest issue is contracts, or the lack of them. He says when he started work as a cleaner at News International six years ago nobody knew what the official hours, wages or even status were. Now their employer, a cleaning contractor, has tried to get them to sign individual contracts but they have refused. "One hundred per cent," he says, "even the ones not in the union." For Juan, the problem is "respect and money" - respect first, but with the cleaners earning on average £200-£300 a week, money comes a close second. "Management harass the staff, blackmail the staff - and the worst thing is, which is very, very sad, people with no documents are afraid to make comments. Some of them are even against us - the ones who are afraid of the union."

Martin Wright, a black British cleaner at the Royal London Hospital, echoes the complaint. After three years of organising, he's managed to get the hourly pay raised from £5.50 to £7.50 an hour and the contract taken in-house so the cleaning managers have to answer to the hospital managers. But there are still problems: he's having to deal with constant tensions between workers from Nigeria, Ghana and Somalia. "Martin Luther King is my hero and I tell them we are all brothers and sisters; all our ancestors came from Africa." Juan and Benedita have both encountered similar conflicts. "Some people," says Juan, "because they come from a background where there is civil war, they still have in their mind just to kill! One guy working with us came into the room and said to another guy, 'If you were in my country I shoot you,' and we said (we were all shocked), 'What are you talking about?' And everybody in the room realised this guy, in his head, was still in the civil war."

When I ask them how they overcome these divisions, the word they all use is patience. "You have to be patient and very understanding with everybody," says Juan. "Try to learn from each one their background and then explain the difference between your country and their country." He says Africans are harder to organise than the rest, Latin Americans the easiest because they have a left-wing tradition. "One guy from Cuba thought he's gonna be shot for joining," says Benedita, laughing.

I ask Juan if he knows there was a major strike at News International, which publishes the Times and the Sun, and that it was a famous strike. "Long, long ago, way back, I heard that, yes," he says. His mouth drops open wide as I tell him the story of the year-long Wapping strike of 1986, when the power of the print unions was broken. In fact, it opens nearly as wide as my own mouth did back then when I saw a bunch of highly paid and supposedly "aristocratic" printers turn over a truck at the main gates and set it on fire. "This information you are telling me is very powerful information," he nods, still stunned. Up to now, this unassuming Spaniard with broken English has had no idea he is trying to organise a union in the very place the union movement suffered a symbolic and shattering defeat. The cleaners, by their own admission, know nothing about the history of east London; many are still struggling with the geography. But the organising team know the irony of what they're doing at Canary Wharf. Their union was born here; it grew by recruiting unskilled workers whom the unions at the time believed were too ignorant to be organised. And the strike that started it all began within yards of where the HSBC skyscraper stands today. It is small compensation to the activists, stamping their feet to keep warm as midnight approaches, but they are treading in the footsteps of Tom Mann.

London, 1889

Tom Mann has been blacklisted as an engineer and is so poor he's had to sell his violin; Victor Griffuelhes is a shoemaker trudging the lanes of southern France in search of work; Bill Haywood is a cowboy in Nevada; Eduardo Gilimón is wandering through the slums of Buenos Aires preaching the non-existence of God; James Connolly is an embittered British soldier in Ireland. The year is 1889 and working-class history is at a turning point. Between now and the outbreak of the First World War, the labour movement will go global, creating mass trade unions and popularising a new "union way of life". But the men who will make this happen are, in 1889, anonymous loners on the fringes of the workforce.

Over the next 20 years, their names will become well-known in the tabloid newspapers and police stations of the world. They will cross continents and oceans in pursuit of a twofold dream: trade unions for unskilled workers and inter national solidarity between them. The idea is known to history as syndicalism and is rough and ready, like the unplaned wood of the railway boxcars it is born in - and it will infuriate socialist intellectuals.

But why will it spread so fast? The answer lies in the giant transformation under way in business and politics in 1889. It can be summed up as the three Ms. Monopoly - the rise of heavy industry has created a few big companies which can swallow up the rest; these are companies with absolute power over suppliers, the workforce and even the politicians who are supposed to regulate them. Management - the generation of businessmen that will build the Eiffel Tower and the Titanic need scientific methods to run the workplace. They need control over it as well as harmony within it. They have started to think scientifically about ways to manage people at work. Militarism - the industrial powers are engaged in the scramble for colonies that will lead to war in 1914; everywhere nationalism is solidifying. Military face-offs and minor wars give warning of the storm ahead.

This is how globalisation looks the first time around; it is not the same as today's version. By 1889 a global system of trade, transport and exchangeable currencies has been created, making international solidarity between workers in different countries a practical question instead of just a high ideal. New Zealand wool makes shawls to keep the heads of British mill girls warm; Chinese migrants undercut the wages of white Dutchmen in the gold mines of South Africa; beef from Argentina ends up in the spaghetti of a Bolognese engineer. And there is mass migration. From Sydney to Seattle, workers are on the move, not just from the farm to the factory, but across land and sea. The footloose syndicalist agitators will always find an audience in the steerage class of ocean-going ships, or in the cattle trucks of trains.

Traditional trade unionism, born in a century of small strikes, small firms and local economics, cannot cope with this new world of giant things. Its power against monopoly is non-existent; scientific management is undermining its control over training and wage rates; and the vast mass of working people have no way into - indeed, see no point to - trade unions.

A small core of activists has struggled to keep alive the principles of anarchism and socialism but it's an uphill struggle. "Marxist ranters" pay fleeting visits to the Salford streets that had throbbed with republicanism at the time of Peterloo, but the reception is now hostile. Robert Roberts, who grew up there in this period, remembers: "We were battling, they told us (from a vinegar barrel borrowed from our corner shop), to cast off our chains and win a whole world. Most people passed by; a few stood to listen but not for long: the problem of the 'proletariat', they felt, had little to do with them."

The "class struggle", Roberts will recall acidly, is something that goes on within the working class: between the skilled, the semi-skilled, the unskilled, the unemployed and the irretrievably drunk. Sociologists are struck by this layer cake of misery, above all in that glittering central hub of global trade, the London docks. It is the mass strike there that will change everything.

It was the hot, late summer when trouble broke out. It was a pathetically irrelevant dispute over pay rates on a single ship. The men involved laid siege to the nearest union office they could find and pleaded for help. The man they found was Ben Tillett, and he sent for his mates Tom Mann and John Burns, both socialists who had been grumbling about union inactivity on the docks for months. Together they set about pull ing the whole of east London out on strike.

The docks had their own notorious class system: above the docker ranked the stevedore, who acted as a makeshift gangmaster. Better than the stevedore was the waterman - entitled to wear a ludicrous pink uniform while surviving on next to nothing. At the bottom of the pile were the women - little better than slaves. In normal times, you were lucky if you could persuade members of these urban castes to drink in the same pub together, but these were not normal times. Within a week, 30,000 dockers were joined on strike by an equal number from "allied trades".

There was a mass meeting every day, then the strikers would set off in an orderly procession around the banking district. The smart office workers of the Square Mile preferred their poor "deserving", and the dockers, with their liking for drink and violence, expected a hostile reception. So they staged tableaux and carried effigies to provide a visual sociology lesson. They carried effigies of a "docker's cat", which was thin, and a "boss's cat", which was fat; likewise the docker's child and the boss's child, both depicted by rag dolls on sticks. The watermen wore their pink uniforms. Tillett recalls collecting "pennies, sixpences and shillings from the clerks and City workers, who were touched perhaps to the point of sacrifice by the emblem of poverty and star vation carried in our procession". The Salvation Army - sternly anti-socialist but a potent force in its east London homeland - had no option but to support the strike. The Catholic Church also weighed in.

What tipped the balance was Australia. The powerful Australian unions used the issue of the London strike to inflame animosity against the English upper classes. By the end of the strike, a total of £30,000 - at least £2.7m in today's money - had been wired via the Australian dockers' union. Sixty thousand dockers were now joined on strike by another 60,000 of their drinking buddies and daughters from the rat- infested streets along the waterfront.

On 28 August, the strike committee issued a manifesto calling for a general strike across London - for the workers officially and purposefully to pull the plug on the "great machine". The call was withdrawn a day later for fear of losing public sympathy. A few days later, following the intervention of City bankers, shipowners and a Catholic cardinal, the dockers won. History records that they won the "docker's tanner"- sixpence an hour instead of five. But they had won much more. Burns wrote: "Labour of the humbler kind has shown its capacity to organise itself; its solidarity; its ability. The labourer has learned that combination can lead him to anything and everything . . . Conquering himself, he has learned that he can conquer the world of capital whose generals have been the most ruthless of his oppressors."

To the social reformer Beatrice Webb, the emergence of solidarity in the East End was "a new thought . . . modifying my generalisation on dock life". It dawned on a whole layer of middle class do-gooders that workers might not have to wait for betterment to be handed down through legislation and lectures. The same thought also dawned on tens of thousands of unskilled workers who rushed to join trade unions. The railway union grew from nothing to 65,000 in a year; the bricklayers' union doubled in size, the shoemakers' tripled; the miners formed a national federation. The movement was labelled New Unionism. Its aim was to draw the unskilled workers into industry-wide unions that would cut across the petty job descriptions that, in the strike, had been made to look irrelevant.

Paul Mason is business correspondent for BBC2's Newsnight. "Live Working or Die Fighting: how the working class went global" is published by Harvill Secker (£12.99)

This article first appeared in the 16 April 2007 issue of the New Statesman, Iran

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Starting Star Wars: How George Lucas came to create a galaxy

On the 40th anniversary of the release of the original Star Wars, George Lucas biographer James Cooray Smith shares the unlikely story of how the first film got made.

While making THX 1138 in 1970, writer/director George Lucas told composer Lalo Schifrin that he wanted to make a Flash Gordon picture, an updating of the 40s sci-fi serials that he’d enjoyed as a child. It would, however, be those serials not as they were, but how he remembered them as having been. When the rights to these proved unavailable, he began to work on original idea, hoping to create something similar, but which he would own himself.

In January 1973, after completing his 50s nostalgia picture American Graffiti but before its release, Lucas began his outline for this space adventure. The first line of this near-incomprehensible document was The Story of Mace Windu. Mace Windu, a revered Jedi-Bendu of Opuchi who was related to Usby CJ Thape, Padewaan learner to the famed Jedi.’

"Jedi" was a word Lucas had coined to describe a clan of warrior mystics who were essential to his story. A man whose fascination for Japanese cinema had become a general interest in Japanese cultural history, he’d named them after the branch of Japanese drama that drew moral and instructive lessons from stories set in the past – Jidai geki.

This version is set in the thirty-third century and features a teenage Princess, droids, an Evil Empire and a grizzled Jedi warrior, General Skywalker, whose plot role resembles Luke’s from the finished film, although his character is Obi-Wan Kenobi’s. It climaxes with a space dogfight and ends with a medal ceremony. Among the planets named are Alderaan (here the Imperial capital) and Yavin, at this point the Wookiee homeworld. Some characters from this draft (Valorum, Mace Windu) would eventually find a home in The Phantom Menace more than twenty years later.

By May Lucas had a 132 page script, The Adventure of Anikin Starkiller. Skywalker had acquired the forename Luke but was no longer the protagonist. This was Anikin (sic) Starkiller, one of the sons of General Skywalker’s old comrade, the partially mechanical renegade Kane Starkiller. Anikin had to protect a Princess, aided by two robots R2-D2 and C-3PO.

Lucas had worked backwards from Flash Gordon, looking to uncover the source of his appeal, hoping to transfer it to his own story. Once he’d worked his way through the comic strips of Gordon’s creator Alex Raymond, he tackled Edgar Rice Burroughs, Jules Verne and Edwin Arnold’s Gulliver on Mars. Conversations with his New Hollywood peers about the archetypes thrown up by his reading – and which he increasingly saw everywhere – brought him into contact with Joseph Campbell’s then newly published Myths to Live By (1972) an anthology of lectures and essays from a man who devoted his career to identifying the basic archetypal characters and situations which he felt underpinned all human mythologies.

"The book began to focus what I had already been doing intuitively" Lucas later said, an idea which seemed to him to itself reinforce Campbell’s contention that such archetypes and situations dwelled in a collective unconsciousness. Lucas expanded his reading to epics of all kinds, and began planning a visual style that would combine the vistas of Japanese master director Akira Kurosawa with the kind of static-camera realism which he’d used on American Graffiti.

Lucas wanted over-exposed colours and lots of shadows, but shot in a way that made them seem unremarkable. Seeing the Apollo missions return from the moon "littered with weightless candy bar wrappers and old Tang jars, no more exotic than the family station wagon" had illustrated to him the problem with every fantasy movie ever made. Their worlds never looked like people lived in them. His film would depict a "used future". Describing the aesthetic he’d sought to American Cinematographer he explained: "I wanted the seeming contradiction of…fantasy combined with the feel of a documentary."  To Lucas Star Wars wasn’t science fiction, it was "documentary fantasy".

There was only one studio executive Lucas thought had any hope of understanding what he was trying to do, Fox’s Alan Ladd Jr, son of the late actor. Like Lucas and his contemporaries in New Hollywood, Ladd was a man driven by a love of cinema. Lucas could communicate with him through a shared vocabulary, describe a planned scene as being like something from The Searchers (John Ford, 1956) or Fahrenheit 451 (Francois Truffaut, 1966) and be understood. Ten days after his presentation to Ladd, they signed a development deal. Fox agreed to pay Lucas $15,000 to develop a script, plus $50,000 to write the movie and another $100,000 to direct it, should it actually be made. American Graffiti associate producer Gary Kurtz was named as Producer for Star Wars, and received $50,000.

The script development money gave Lucas enough to live on whilst he continued work on the screenplay. As he did so it changed again; a ‘Kiber Crystal’ was written in and then written out. Skywalker became Deak Starkiller’s overweight younger brother before becoming the farm boy familiar from the finished film. Characters swapped names and roles. A new character named Darth Vader – sometimes a rogue Jedi, sometimes a member of the rival ‘Knights of Sith’ – had his role expanded. Some drafts killed him during the explosion of the Death Star, others allowed him to survive; across subsequent drafts his role grew. Some previously major characters disappeared altogether, pushed into a "backstory", Lucas choosing to develop the practically realisable aspects of his story.

This is an important clarification to the idea that Star Wars was "always" a part of a larger saga, one later incarnated in its sequels and prequels. That’s true, but not in an absolutely literal way. Star Wars itself isn’t an excerpted chunk of a vast plotline, the rest of which was then made over the next few decades. It’s a distillation of as much of a vast, abstract, unfinished epic as could be pitched as a fairly cheap film to be shot using the technology of the mid 1970s. And even then much of the equipment used to make the film would be literally invented by Lucas and his crew during production.

In August 1973 Graffiti was released and became a box office sensation, not only did the profits make Lucas rich (he became, at 29, a millionaire literally overnight) its success meant that Lucas was able to renegotiate the terms of his Fox deal. Rather than making demands in the traditional arenas of salary and percentages Lucas wanted control of the music, sequel and merchandising rights to his creations. Fox conceded him 60 per cent of the merchandising, aware of its potential value to them, but eventually agreed that Lucas’s share would rise by 20 per cent a year for two years after the film’s release. Few films made money from spin-off products for a whole 24 months, and Star Wars would surely be no different. Lucas got the sequel rights as well, albeit with the proviso that any sequel had to be in production within two years of the film’s release or all rights would revert to Fox.

Most important amongst Lucas’ demands was that, if it went ahead, he wanted the film to be made by his own company, not by Fox. That way he could control the budget and ensure all charges and costs made to the production were legitimately spent on the film. The experience of watching Mackenna’s Gold being made while a student on placement a decade earlier had taught him just how much money a studio could waste, and on a film like Star Wars – which was both ambitious and would inevitably be under-budgeted – it was crucial that this did not happen. Control of the music rights also had a sound reason behind it. Universal were making a fortune out of an American Graffiti soundtrack that was simply a repackaging of old hits featured in the movie. Of the profits of this Lucas saw nothing despite having selected the tracks featured and fought long and hard for their inclusion in his film.

In March 1975, Ladd took Lucas’ draft to the Fox board. They passed it and budgeted the film at $8.5m. Characters bounced in and out of that script right up to the preparation of the shooting draft, dated 15 January 1976. This was tailored to be as close to the film’s proposed budget as possible, and contain as many of the ideas, characters and situations Lucas had spent the past few years developing as he considered feasible.

This draft is the first version of the script in which Kenobi dies fighting Vader. Previously he had been injured, but escaped with Luke’s party. Alec Guinness, who had already been cast, was initially unhappy with this change, but was persuaded by Lucas that a heroic death followed by appearances as a spectral voice would prove more memorable to audiences than his spending the last third of the film sitting on Yavin whilst the X-Wings went into battle.

Filming began on location in Tozeur, Tunisia on 22 March 1976. Before shooting Lucas sat his crew down and made them watch four films which he felt between them defined what he was after in Star Wars. Stanley Kubrick’s 2001 (1969), Douglas Trumbull’s 1975 Silent Running, Sergio Leone’s Once Upon a Time In the West and Fellini’s Satyricon (Both 1969). The Leone picture was full of the sun-blasted vistas Lucas wanted to evoke for Tatooine, and the Fellini film, with its aspects of travelogue and attempts to portray an entire society in a fly-on-the-wall manner gave an idea of the "documentary fantasy" approach the director was so keen on. All four films shared one vital element: they’re windows onto lived-in worlds remarkable to audiences but regarded as ordinary by the film’s characters.

The first scenes shot for Star Wars were those of Luke buying Artoo and Threepio from the Jawas outside his foster parents’ home. Producer Kurtz had allowed 11 days for the shoot, after that a borrowed army C130 Hercules was scheduled to pick up the cast and crew.

A few days into shooting, creature make-up man Stuart Freeborn was taken ill and had to be flown back to Britain where he was diagnosed with pneumonia. Other crew members contracted dysentery. On 26 March Tunisia experienced its first winter rainstorm for half a century, damaging equipment and exterior sets delaying filming of key scenes.

Lucas wanted the stormtroopers to ride ‘dewbacks’, dinosaur-like domesticated beasts that allowed the troops to move across the desert. One dewback was built, out of foam rubber stretched over a wire frame. It could only be used in the background and no one was ever seen riding one. The other live animal Lucas wanted to portray was a Bantha, a huge horned, shaggy beast reminiscent of a prehistoric mammoth. It was to be the mode of transport for the Tusken Raiders, faintly Bedouin, vaguely mechanically-enhanced humanoids who attacked Luke in the Jundland wastes. In the end, creating the beasts proved impossible, and while they were referred to in dialogue in scenes that were shot (‘bantha tracks…’) none of their sequences were lensed.

As hard as the shoot was on Lucas, he at least had an idea of what he was trying to do and how it would all fit together. The actors, suffering stomach troubles, sunburn and long days, were less clear. Anthony Daniels trapped inside an almost immovable fibreglass body suit suffered the worst. Twenty five years later he would give credit for helping him to get through the Tunisia filming to Alec Guinness. "He was incredibly kind to me…I firmly believe that I wouldn’t have completed that arduous task of shooting without him."

Once the Tunisian shoot was over, the cast moved to EMI Elstree Studios in Borehamwood, outside of London. Star Wars was being made in the UK because it wasn’t possible to shoot the film in Hollywood at that time, not that Lucas – with his lifelong disdain of LA itself – wanted to anyway. Star Wars required nine stages simultaneously, something that no Hollywood studio complex could guarantee at anything like sufficient notice. In March 1975 producer Kurtz had flown to Italy to look at studio space, but found nothing suitable. He then caught a plane to London, where Lucas joined him.

Together they scouted UK film studios. Pinewood was a possibility, but management insisted Lucasfilm hire their technicians, a condition which became a deal-breaker. Neither Shepperton nor Twickenham had enough sound stages (although the giant Stage H at Shepperton  - bigger than any stage at Elstree – would ultimately house one scene of the film) which left only EMI Elstree. Then losing £1 million a year, Elstree was being kept open more or less on the insistence of Harold Wilson’s government, whose allies in the Trades Union movement considered the closing of the facility unconscionable. Elstree had no staff, and anyone who wished to rent it had to supply their own technicians and much of their own equipment. Off-putting to many, it sealed the deal for Lucas and Kurtz, who wanted to move their own people in. They hired the facility for seventeen weeks starting at the beginning of March 1976.

To design and build the sets needed to turn to Elstree into a realisation of Lucas’s screenplay they hired John Barry, a British designer who had worked under Ken Adam on Barry Lyndon (Stanley Kubrick, 1975) a film Lucas admired enough to hire its costumier John Rollo as well.

Elstree’s two largest stages were given over to Mos Eisley Spaceport and the interior of the Death Star. Both the Mos Eisley hangar bay and the one inside the Death Star which replaced it on the same stage were constructed around the full size Millennium Falcon set created by John Barry’s protege Norman Reynolds. Built by Naval engineers at Pembroke Dock, Wales it was 65 feet in diameter, 16 feet high and 80 feet long. It weighed 23 tonnes.

The absence of Stuart Freeborn, still recovering from Tunisia, meant that most of the aliens seen in the Mos Eisley cantina sequence were completed by assistants and lacked any articulation at all. Unhappy with the scenes as shot, Lucas resolved to do to re-shoots back in the USA.

The last scenes to be shot were for the opening battle, as Vader and his stormtroopers boarded the blockade runner. With little time Lucas used six cameras, manning one himself (Kurtz manned another) and shot the sequence in two takes. The six cameras produced so many different perspectives on the action that even the duplicated events that are in the film are unnoticeable. The finished sequence, chaotic though the creation of it was, is amongst the best put together moments in the movie, a superb evocation of Lucas’ documentary fantasy approach, and the cameras dart in and out of the action like reporters shooting newsreel footage. Virtually the first live action seen in the picture, its style later went a long way towards convincing audiences that what they were seeing was somehow real.

Principal photography completed on 16 July 1976, although some re-shoots and pick up shots for the Tatooine sequences were undertaken in Yuma, Arizona in early 1977. Amongst those scenes shot were those featuring the Banthas. Lucas borrowed a trained elephant from Marine World, and had it dressed to resemble a more hirsute, fearsome pachyderm. Mark Hamill was unavailable to participate. He’d crashed his car of the Antelope Freeway in LA shortly before and was undergoing painful facial reconstructive surgery. Although Hamill should have been involved in the re-shoot, in scenes of Luke’s landspeeder moving across the desert, Lucas had no choice but to film them without him; he took a double to the shoot, dressed him in Luke’s costume and put Threepio in the foreground. Also re-shot, over two days in La Brea, California, were portions of the cantina sequence. New cutaways and background shots were filmed to be inserted into the Elstree footage in order to eliminate as of the unsatisfactory masks as possible.

While supervising editing of the film Lucas experienced chest pains, and was rushed to hospital where he was treated for a suspected heart attack. He was later diagnosed with hypertension and exhaustion, both exacerbated by his diabetes.

Fox were by now trying to book Star Wars into cinemas, and had picked a release date in May, long before the 4th July public holiday, long regarded as the opening weekend of summer. Fox wanted $10m in advance bookings for Star Wars, desperate to recoup an investment that internal studio sources had now decided was foolish. They secured less than $2m, and achieved that only by implying to theatres that they wouldn’t be offered Charles Jarrot’s much-anticipated The Other Side of Midnight if they didn’t sign up for Star Wars too. Before its release several exhibitors complained at this "block booking" and filed suits; Fox was later fined $25,000 for the practice, punished for forcing cinemas to agree to show something which was, by the time they paid the fine, the most financially successful movie ever made.

In early 1977 Lucas screened Star Wars for a group of friends, it was nearly finished – although the opening crawl was longer and many of the special effects shots were absent, represented instead by sequences from World War II films and real combat footage shot by the USAF. Among those present were Brian De Palma, Alan Ladd Jnr, Steven Spielberg and Jay Cocks. Martin Scorsese had been invited but troubles editing his own New York, New York meant he didn’t turn up.

De Palma hated Star Wars, and spent the post-screening dinner rubbishing it to anyone who would listen. Others present were unsurprised, De Palma had behaved in the same way during the group screening of Scorsese’s’ Taxi Driver; laughing loudly through Cybill Shepherd’s conversations with Robert de Niro, and at one point shouting "Shit!" halfway through a tense scene. Only Spielberg seemed impressed, and told Lucas that he thought Star Wars would take $100m. Lucas pointed out that nothing took $100m, and countered that Spielberg’s Close Encounters of the Third Kind would do better at the box office. The two directors wrote what they considered realistic estimations of what each other’s film would make in its first six months of release on the inside of matchbooks, which they then traded. By the time Lucas got round to opening Spielberg’s matchbook and saw the figure $33m in his friend’s scrawling hand Star Wars had already made ten times that.

Odd as it seems now, when every blockbuster is prefaced by months of breathless, unrelenting media "enthusiasm", Star Wars wasn’t released on a wave of hype or accompanied by an extensive marketing campaign. It was released (on 25 May 1977) to thirty-two screens, after a barely publicised premiere at Mann’s Chinese Theatre in Hollywood. It made $2.8m in its opening week, but didn’t receive a nationwide release for two months. Despite almost unprecedented success in preview screenings, Fox were still unsure of what to do with Lucas’ bizarre children’s film. Indeed it, only got a Hollywood opening at all because William Friedkin’s Sorcerer – which had been intended for this slot at Mann’s – wasn’t finished.

So negative had advance feeling about Star Wars been that Lucas left the country; he was still in LA on opening day, finishing the sound edit (he was unhappy with the copy playing downtown, and unknowingly embarking on a lifetime of revising his movie) but the next day he and his wife (and Star Wars film editor) Marcia flew to Hawaii, where they were joined by friends, including Spielberg and Amy Irving. It was an attempt to escape what Lucas felt would be the inevitable terrible reviews and wrath of the studio. Even when Ladd called him to share his excitement over the movie’s colossal opening weekend, Lucas was unmoved; all movies labelled science fiction did well in their first few days due to the business attracted by the neglected fanbase for such things. It was only when the film continued to do outstanding business and was expanded to more and more theatres that Lucas considered returning early from his holiday, and began to realise that the film he’d just delivered had changed his life.

As "Star Wars" expanded into more cinemas, and people began to queue round the block to see it, shares in Fox climbed from well under $10.00 to $11.50 each; over the next three months the value rose to $24.62, nearly trebling in price, such was the film’s value to the embattled studio. It was a magnificent vindication for Alan Ladd Jr, who had more than once had to intervene to stop colleagues closing down the film’s production completely. He had never lost faith in Lucas and his bizarre idea, but he was virtually the only person employed by Fox itself who hadn’t.

Just a few weeks before, as the end of the financial year approached, Fox had tried, and failed, to sell its investment in Star Wars to a German merchant bank as an emergency pre-tax write off.

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