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Leaving Afghanistan: is it finally time to be positive about this blighted nation?

The Afghan presidential election has been declared a success – but as the west finalises its pull-out, what the country's prospects?

There is seldom an excess of good news coming out of Afghanistan, but until the triumphant success of the presidential election on Saturday 5 April, optimism was in notably short supply among the Kabul-based foreign press corps. There were good reasons for this. As the election drew closer and the number of attacks by the Taliban increased, Kabul was particularly badly hit and institutions associated with foreigners or the foreign-backed government were targeted with remorseless precision. In January, a suicide attack on a popular restaurant, the Taverna du Liban, killed 21 people, 13 of them foreigners. The Serena Hotel was hit on 20 March, killing nine; and, in what could have been a bloodbath of about two dozen foreign (mostly American) aid workers and their children, an attack apparently aimed at a guest house followed on 28 March. The Independent Election Commission was attacked the following day, just two weeks after four of its staff had been kidnapped in the eastern Nangarhar Province. The interior ministry was hit by a suicide bomber on 2 April, killing six more.

In all, three foreign journalists have been shot in the past month alone: Nils Horner on 11 March and, on the day before the election, Anja Niedringhaus and Kathy Gannon. Many expats in Kabul fled, the government closed several restaurants and guest houses used by foreigners, and the foreign press corps seemed understandably and uncharacteristically rattled. Their reporting at times reflected that sense of panic.

The steady crescendo of attacks added to the growing sense of exhaustion with the apparently interminable conflict: 13 years after the west went in to Afghanistan in the aftermath of the 11 September 2001 attacks, to destroy al-Qaeda and oust the Taliban, the troops were now withdrawing with neither objective wholly achieved. What remained of al-Qaeda had moved to the Pakistani borderlands and elsewhere, while the Taliban now control swaths of rural southern Afghanistan. Casualties among Afghan regiments on the front lines are reaching levels that are said to be unsustainable: as many as 800 police and army are being killed every month and some regiments have lost 50 per cent of their fighting troops; a few in Helmand have desertion rates approaching a similar level.

If the Afghan troops were exhausted, their American backers increasingly seemed to have lost any remaining interest in the bloody complexities of the Afghan conflict that they had fought so long and with so little obvious gain. “No one is talking about Afghanistan in Washington any more,” says Mark Mazzetti, the Pulitzer-winning New York Times security correspondent based in the US capital. “There is deep fatigue in DC and across the US over America’s longest war. It is no longer high on anyone’s priorities and in addition the White House feels a deep animosity against Karzai.”

This all matters very much, because the western-installed government in Kabul relies almost entirely on western financial support: without sustained backing it can’t pay for elections, the army, the civil service, medical and educational facilities or tele­communications. If the funding stops, or is significantly reduced, the government is unlikely to be able to defend itself – just as happened to Mohammad Najibullah’s regime, which fell to the mujahedin in 1992 after Mikhail Gorbachev cut off the money and the arms supply from the Soviet Union. “The changes which have taken place in Afghanistan since 2001 may be irreversible,” says Barnett Rubin, who recently stepped down as an adviser to Obama’s special representative for Afghanistan and Pakistan. “But they are also unsustainable.”

There were many other fears – the stuttering economy, the increasing reliance of the economy on aid and narcotics, government corruption, the poorest and most illiterate population in Asia – but looming over them all was what one Afghan official described, mixing two English metaphors, as the white elephant in the room: Afghanistan’s age-old ethnic divisions, which many observers feared could be exacerbated fatally by an indecisive election outcome.

If no one succeeds in gaining a 50 per cent majority in the election (as seems likely) there will be a run-off on 28 May, and in all likelihood it will be between a Pashtun and a Tajik candidate. That could in turn put huge stress on the principal fault line that has divided the country ever since it assumed its modern borders under Dost Mohammad Khan from the late 1850s onwards.

Afghanistan has always been, like Lebanon, a country built less on any geographical or ethnic logic, and more on the contingencies of 19th-century imperial politics. Indeed, considering its ancient history, Afghanistan has had only a few hours of political unity. More often it has been “the places in between” – the fractured and disputed stretch of mountains and deserts separating its more orderly neighbours.

For much of its history its provinces formed the warring extremities of rival empires. Only very rarely have the parts come together to attain any sort of coherent state in its own right; and as the more gloomy commentators have pointed out, it need not take much to rip the country apart again and exacerbate tribal, ethnic and linguistic fissures in Afghan society: the old rivalry between the Tajiks, the Uzbeks, the Hazaras and the Durrani and Ghilzai Pashtuns; the schism between Sunni and Shia; the endemic factionalism within clans and tribes and the blood feuds within lineages. After all, Afghanistan briefly splintered in a patchwork of warlord-controlled ethnic fiefdoms in 1993-94, between the collapse of the mujahedin regime and the rise of the Taliban.

Just before this month’s election, some of the more perceptive observers noted that despite the bomb attacks there were huge queues forming to register voters across the country and excitement at the well-attended rallies; but still, caught up in the fear generated by the Taliban assault on Kabul, few predicted what was to come on election day. For, in just 12 hours on 5 April, the general mood changed from anxious and frightened to jubilant and triumphant. The scale of participation in the election was unprecedented – so vast, that all over the country ballots began to run out as early as midday.

More than a third of all Afghan provinces reported shortfalls, so unstoppable was the enthusiasm of the electorate. Despite heavy rain, nearly twice as many people – an extra two and a half million Afghans – voted in this presidential election as in the previous one in 2009: seven million out of a total electorate of 12 million. There were the odd attacks on remote polling stations and 1,200 complaints about fraud. But this was nothing compared to the mess that had been predicted, or the fraud that took place in 2009. For the first time in its history, Afghanistan was going to witness a relatively peaceful transfer of power by the ballot box in a remarkably unflawed election.

By the evening of 5 April, few could disagree that the political landscape had changed in a fundamental way. “Despite the cold and rainy weather and possible terrorist attack, our sisters and brothers nationwide took in this election and their participation is a step forward and it is a success for Afghanistan,” said a relieved President Karzai in a televised official statement.

Most excited of all were the Kabul elite, who had worried that all they had built up was about to disappear. “Huge huge day for Afghanistan,” tweeted the media mogul Saad Mohseni, owner of Tolo TV, Afghanistan’s biggest channel. “A historic event ends peacefully with millions casting their votes. A massive victory for our people . . . and a massive kick in the face for the Taliban . . . Politically, this is the beginning of the end for [them].”

One reason for the unprecedented turnout at election rallies and in the election itself was the exceptional quality of the presidential candidates. They are, by any standards, an unusually smart and talented group. According to all the opinion and exit polls, there are three front-runners among the eight candidates who have just stood for president. The most brilliant is Dr Ashraf Ghani, or, as he renamed himself for the election, Ashraf Ghani Ahmadzai. The new nomenclature is important: Afghanistan is still a semi-tribal society where clan and ethnic allegiance means a great deal and can bring in block votes from rural areas.

The Ahmadzai are one of the two leading clans of the Pashtun Ghilzai tribe; their only rivals are the Hotaki Ghilzai, among whom the Taliban leader Mullah Omar is the clan elder. The Ghilzais as a whole are the rivals of the Durrani Pashtuns, whose two leading clans are the Popalzai and the Barakzai. Hamid Karzai is the chief of the Popalzai and his preferred successor – and Ashraf Ghani’s main rival for Pashtun votes – is Zalmai Rassoul, who is a Barakzai from the royal family. Behind the sophistication, sharp suits and cosmopolitan CVs of all three leading candidates for president lie the tribal blocks that have defined Afghan politics for a century and a half: Ahmadzai Ghilzai v Hotaki Ghilzai; Ghilzai Pashtuns v Durrani Pashtuns; Pashtuns v Tajiks.

According to the polls, at the time of writing, Ashraf Ghani leads the race; and there is little doubt that he is the best qualified of the three contenders. A PhD from Columbia University, former World Bank official, former chancellor of Kabul University and minister of finance, Ghani has a quick wit and a formidable brain. When I was researching my book on the first Afghan war, Return of a King, Ashraf was one of the first men I visited in Kabul and the hours I spent with him in his austerely beautiful library house, filled with books, good rugs and Nuristani furniture, were probably the most revelatory of any in the whole five-year research project.

Although his specialisation in history lies well down his list of interests, coming far behind anthropology and economics, in a two-hour tutorial he gave me a long list of all the principal Persian sources for the war, many of which he was able to take down from his own shelves.

On my subsequent trips to Kabul, Ghani sent round any other books or snippets he had found, always refusing any sort of payment. Yet the same straightforward frankness and lack of dissimulation that makes him such a generous host and dedicated scholar can also cause him to be irritable and irascible. When he disagreed with some remarks I had made at a lecture in Delhi last year, he steamed straight up to the podium at the end and told me I was talking “bullshit! Bullshit!”

A Farsi video of him describing the writer and Tory MP Rory Stewart as the “son of a donkey” is still doing the rounds in Kabul. It dates back to a feud Ghani embarked on a decade ago when he accused Stewart’s Turquoise Mountain Foundation of lifting furniture designs from those developed by his wife, the Begum Rula Ghani, a formi­dable figure in Kabul society and a force in her own right.

An old friend of Ghani’s told me he feared his temper almost as much as he admired his mind. “I’m very fond of him – he’s a smart guy,” he said, “but he can be super-temperamental and is capable of totally losing the plot. I can’t even count the number of times he has thrown me out of his house. I can understand how frustrated such a bright man must be by all the idiots in Kabul – but it does worry me. If he doesn’t have the right handlers if he gets to power, he is the sort of man who could easily order an execution in a fit of anger one evening, and deeply regret it when he calms down the following morning – by which time it will be too late.”

When Ghani first stood for election in 2009, he lost so badly that the media dismissed him almost as a joke candidate. But he learned from his campaigning errors and has worked hard to make himself more appealing. As he already had strong support among the new urban youth, he concentrated on winning over rural areas. As well as adding the tribal suffix to his name, he has made himself look more tribal and less of an urban technocrat: he has grown a rather elegant salt-and-pepper beard and in his campaign photographs is usually seen wearing a mountainous Ghilzai turban.

Ghani’s most controversial – and arguably cleverest – move was to form an alliance with the Uzbek warlord and alleged war criminal General Abdul Rashid Dostum, who controls huge vote banks in the north. In 2009 Ghani had denounced Dostum as “a known killer”. This time he offered him the chance to become vice-president. “We need to come to a politics of inclusion, not exclusion,” he explained to Christiane Amanpour of CNN. “We must have people in the system who fought each other; without bringing these elements to genuine reconciliation and peace, we will not move towards stability.”

Like Ghani, his Tajik/Pashtun rival Dr Abdullah Abdullah is fluent, sophisticated and intelligent; but he is a smoother, suaver, less academic figure than Ghani. Ghani wears immaculately pressed white shalwar kameez; Abdullah Abdullah prefers bespoke Savile Row suits. Ghani’s home is full of low Afghan wooden chairs; Abdullah has beautiful Italian furniture. He also owns an extremely rare and valuable collection of Company School paintings of life in Afghanistan by the Delhi artists brought to the country by the British Elphinstone mission from 1808 onwards. His most recent wife, a gifted young analyst, half his age, is described by those who have met her as “the Penélope Cruz of Kabul – only much more beautiful than Cruz”.

Of the three candidates, Abdullah is the most engaging company: witty, charming and irreverent. When I last paid him a visit, he expressed irritation that Tom Ford, the then creative director of Gucci, had declared Karzai to be “the chicest man on the planet”. “I liked what Tom Ford did at Gucci,” he said, brushing a speck of dust off his cuffs. “But I would dispute that judgement.”

Abdullah rose to power as the adviser to the Tajik war hero and “Lion of the Panj­shir”, Ahmed Shah Massoud, and his house and election posters are covered with images of his former boss and hero. In the winter of 2000, a few months before Massoud was assassinated by al-Qaeda on 9 September 2001, Abdullah Abdullah was part of the secret meeting at which Massoud and the then almost unknown Hamid Karzai met on an island in the middle of the Oxus river to discuss how they could co-ordinate political action against Mullah Omar and the Taliban.

At the International Afghanistan Conference in Bonn, which followed the US defeat of the Taliban in December 2001, it was Abdullah and his Tajiks who supported Karzai for the post of provisional president. “Never before had someone from one part of the country asked someone from another part to rule in their stead,” Abdullah remembers. “It was a historic moment. I played my part. But I was very naive. I thought under his leadership we would build Afghanistan into a modern state, step by step. It was
doable, had we not missed so many opportunities. Many of those opportunities will not be repeated.

“For me, it is even more sad that I was part of this from the beginning. We had so much hope for a new start, and so many worries today. Now a new generation is looking
forward rather than looking to the past. But the great golden opportunity of 2001 will never be recovered.”

Abdullah was Karzai’s minister of foreign affairs from 2001 to 2005. They soon fell out and have had a difficult relationship ever since, especially after Abdullah withdrew from the 2009 election when it became clear that the polls were hugely rigged in Karzai’s favour. Abdullah chose not to take part in the run-off, citing his lack of faith in the ability of Karzai’s administration to hold a “fair and transparent” second round. “I have great respect for his father,” Abdullah told me, “but Hamid? Let’s just say he is one of the greatest actors that Afghanistan has ever produced.”

It was partly to thwart Abdullah that Karzai encouraged a third major candidate to stand. Zalmai Rassoul is a bespectacled former nephrologist who was chief of staff to his cousin Zahir Shah, the last king of Afghanistan, when he was exiled in Rome. Rassoul was fast-promoted by Karzai to be his minister of foreign affairs. A nephew of the great king Amanullah Khan (1892-1960) and a senior member of the royal family, which the Karzais have served faithfully for three generations, he is described by one of his friends as “a shy, moderate, blue-blooded, cigar-smoking, wine-drinking aristo”. He is widely said to be Karzai’s preferred choice as successor.

Rassoul is the oldest, greyest and least charismatic of the three presidential front-runners: on the two occasions I have met him – once at an audience in President’s Karzai’s office and the other at a dinner party thrown by the French ambassador – he was almost completely silent. On campaign, he reads prepared speeches and looks ill at ease having to kiss babies and perform all the usual idiocies of electioneering. Yet he is also said to be intelligent and urbane, an able administrator, and fluent in French, Italian and English, as well as most of the regional languages. It is also said he warms up slightly over a glass of cognac at the end of dinner.

The intelligence and polish of the candidates, and the enthusiasm with which Afghans have embraced them, are not the only reasons for the uncharacteristic optimism in Kabul. The election took place without accusations of large-scale rigging or any Taliban “spectaculars” to disrupt voting. This reflects the fact that security, though far from perfect, has not collapsed since Nato troops withdrew from front-line combat roles at the end of last year. For nearly a year, Nato has been doing almost none of the actual fighting in Afghanistan and its role has been limited to training; yet there has been no clear change in the battle lines between the government and the Taliban: security may have got worse in northern Helmand, where few from the government now venture at all, and also in Badakhshan; but to balance that it has improved notably in and around Kandahar. In July last year I travelled in complete safety to the Karzais’ home village of Karz, several miles outside Kandahar, a journey that would have been impossible a year earlier.

Moreover, it is becoming increasingly obvious that Afghanistan has changed beyond recognition since 2001. It is the fastest-urbanising country in Asia. Its cities have grown exponentially – Kabul alone has 20 times the population it had in 2001 – and people are travelling much more widely. Television, the internet and an ebullient media have opened many minds. Schools are opening everywhere, and while there is much that still needs to be done, literacy is growing fast. The Taliban may be capable of causing widespread disruption but few believe they can roll back over the country and retake Kabul or the north. They remain a rural Pashtun force, with few supporters north of Kabul.

Afghanistan’s regional relations are also a cause for some optimism. Karzai success­fully balanced the role of its important neighbours and manipulated India, Pakistan, Iran, Russia and China, as well as the US and UK, to advance Afghanistan’s geopolitical and economic objectives. Just as the Ottoman empire survived for a century because none of the powers that surrounded it could allow any of their rivals to benefit from its collapse, so Afghanistan is likely to survive intact because a stable and peaceful Afghanistan is in the interests of all of its neighbours.

The one anxiety is Pakistan, whose army has long been fixated on the idea that it cannot allow a pro-Indian government in Kabul and, because of that, has long turned a blind eye to the Taliban operating from bases in its territory. Nevertheless British diplomats in Islamabad take the view that the Pakistani army has changed its views and policy in the past couple of years and now fears internal jihadi instability more than it fears India.

Certainly Pakistan’s terrible self-crucifixion seems to be consuming the country at the moment, and there is hope that who­ever wins the election in Afghanistan may be able to improve relations and persuade Pakistan finally to crack down on the Quetta Shura and take out the Afghan Taliban bases within Pakistan’s Federally Administered Tribal Areas.

What then of Hamid Karzai? There were many predictions that he would never give up power without a fight, and would find some pretext to delay or rig the election. But Karzai is acutely aware of his pivotal role in his country’s history and has become much more concerned with his legacy than anything else. He lived up to all his promises to oversee a peaceful transition of power.

However much he may be disliked by US officials, he remains popular as a unifier in Afghanistan and he will be remembered as a historic figure.

At our last meeting, I was able to ask him about his rule and hopes for the future. It was Ramadan and we were sitting at the desk in his office, eating our way through a huge platter of Afghan fruit: melons, grapes, figs and mountains of tiny Afghan cherries. Due to the fast, most business in Kabul had come to a halt and Karzai, having more time on his hands than usual, had agreed to spend three evenings with me talking about Afghanistan’s future.

I asked him first if he had any regrets.

“No,” he said. “I think I’ve done well. I stood up to foreign powers. Which I would do again. I did my best with the neighbours. Which I would do again. I established good relations with India, China, Russia, the Arab world. Managed, against all odds, relations with the west.”

And what of his own future?

“I will stay here. I am building a place just over the wall, near the French embassy. I am looking forward to taking a few days off. To have my own time. To relax. So I can recuperate fully.”

You feel this has aged you?

“People tell me it has aged me a lot. Just today, during the prayers, a friend of mine told me I look like an old man.

“I do look like an old man. I look much older than 55.”

So what was he most looking forward to, leaving the prison of this palace?

“I don’t feel imprisoned – not at all. I feel responsible, not imprisoned. And when I no longer have this responsibility, I’ll be free like a bird to go around this lovely country. I will visit people, go to bazaars . . .”

Could he really do that?

“Security is a fact of life all over the world, not just Afghanistan. The US president has much more security than I do when he goes out on to the streets of America.”

Did he really think he could stay in Kabul safely?

“Why not? I am optimistic.”

Wasn’t it delusionally optimistic to be so hopeful? Didn’t he think civil war was a possibility?

“This idea is just part of the American psychological warfare against me,” he replied, launching into what is now an obsession of his: the ill-intentions of the US “Deep State” to weaken and fragment Afghanistan.

“They keep telling the Afghan people that if they are not here after 2014, Afghanistan will collapse, Afghanistan will go into civil war, and all that. It’s complete rubbish.”

And he thought the future was bright? Even with the Taliban controlling so much of the rural south? Even with the economy in such a bad way?

“I am very optimistic,” he repeated. “Let me be clear. As long as the west has nothing bad up its sleeve for this region, Afghanistan will do very well. Mark my words.”

Afghanistan has been through so much in the past 40 years – the 1973 coup d’état, the 1978 Saur Revolution, the 1979 Soviet invasion, the 1.5 million deaths and six million refugees in the decade of resistance that followed, the collapse of the mujahedin government and the civil war of 1992-96, the seven long years of Taliban medievalism and Arab Afghan/al-Qaeda encroachment, and most recently the 100,000 casualties of the past 13 years of fighting between Nato and the resurgent Taliban. In that war, the US alone has already spent more than $700bn, enough to build every living Afghan a luxury apartment serviced by world-class health and education facilities – and to throw in a top-of-the-range Land Cruiser for each and every citizen, too. Instead, at the end of this, Afghanistan remains the poorest country in Asia, the joint most corrupt country in the world, boasting the highest illiteracy rate and worst medical and educational facilities outside a few war zones in sub-Saharan Africa. Even in the best-case scenario, it will take it several decades even to approach the living standards of Pakistan or Bangladesh.

Against this background, it may seem mad to share Karzai’s optimism. Certainly, there are many reasons to hesitate to do so. Every Afghan I know well, however patri­otic they may be, has an exit strategy in place: a second passport, a secret bank account far away, a small apartment somewhere safe and relatively peaceful, just in case Kabul does go belly up.

Equally, there are a million things that could still go wrong: the withdrawal of US military and civilian aid; Indo-Pak rivalry leading to renewed support by Inter-Services Intelligence for the Taliban; the collapse of the fragile Afghan economy; or a growing Pashtun/Tajik fracture following a disputed election run-off in May.

But this month, for the first time in many years, it has been possible to suspend disbelief and to imagine a happy ending to this long and tragic tale. With foreign troops in Afghanistan, it was always possible for the Taliban to portray themselves as a legitimate, patriotic resistance movement fighting for freedom from foreign rule. With those foreign troops now either withdrawn, or locked up in their barracks, and with a free vote having taken place across the whole of Afghanistan, without systematic rigging, and with unprecedented public support and swaths of the population standing up to be counted as democrats, that legitimacy of resistance is now over. It is possible to hope that a new era of Afghan history might have just begun.

William Dalrymple’s “Return of a King: the Battle for Afghanistan” is published by Bloomsbury (£9.99)

This article first appeared in the 09 April 2014 issue of the New Statesman, Anxiety nation

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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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