Show Hide image

Why empires fall: from ancient Rome to Putin's Russia

Moscow, to western eyes, does not look much like Rome. But if there is any country in the world where the tug of the Roman ideal can be felt, it is Russia.

Great pretender? Barack Obama seems a modern incarnation of a line of ambitious imperatores whose powers are all too mortal.

When did the Roman empire end? It is still possible to find history books that give a very precise answer to this question. The curtain came down on the Roman empire, so it is usually claimed, on 4 September 476, when a young man by the name of Romulus Augustulus was formally stripped of the imperial purple by a Gothic chieftain and packed off to retirement near Naples. The accident of his name, in this particular version of Rome’s fall, provides the perfect bookend to a thousand years and more of the Roman story. Romulus, after all, had been the founder of the Eternal City, Augustus her first emperor. Now, with the deposition of Augustulus – “the little Augustus” – the line of emperors had come to an end. The light-switch had been turned off. Antiquity was over; the Dark Ages had begun.

In fact, in almost every way that it can be, dating the fall of the Roman empire to a particular day in 476 is wrong. On the most pedantic level, the title “last Roman emperor of the west” should properly belong not to Romulus Augustulus at all, but to a Balkan warlord, named Julius Nepos, who was murdered in 480. Meanwhile, in Rome itself, life carried on pretty much as normal. Consuls continued to be elected, the senate to sit, chariot races to be held in the Circus Maximus. Most saliently of all, in the eastern half of the Mediterranean, the Roman empire was still strong. Ruled from a city pointedly christened the Second Rome, it remained the greatest power of its day. Constantinople had many centuries of life in it yet as a Roman capital.

It turns out, in short, that the fall of Rome is to human history what the end of the dinosaurs is to natural history: the prime example of an extinction that nevertheless, when one looks at it more closely, turns out to be more complicated than one might have thought. If it is true, after all, that birds are, in a sense, dinosaurs, then it destabilises our notion of the asteroid strike at the end of the Cretaceous era as a guillotine dropping on the neck of the Mesozoic. Likewise, the notion of a Romanitas, a “Roman-ness”, surviving into the Middle Ages, and perhaps beyond, upsets the categorisation of the Roman empire that most of us have as a phenomenon purely of the ancient world.

It is important, of course, not to take revisionism too far. Just as a wren is no tyrannosaur, so was, say, the England of Bede incalculably different from the Roman province of Britannia. “Transformation”, the word favoured by many historians to describe the decline of Roman power, hardly does the process justice. The brute facts of societal collapse are written both in the history of the period and in the material remains. An imperial system that had endured for centuries imploded utterly; barbarian kingdoms were planted amid the rubble of what had once been Roman provinces; paved roads, central heating and decent drains vanished for a millennium and more. So, it is not unreasonable to characterise the fall of the Roman empire in the west as the nearest thing to an asteroid strike that history has to offer.

One striking measure of this – the degree to which it was indeed, in the words of the historian Aldo Schiavone, “the greatest catastrophe ever experienced in the history of civilisation, a rupture of incalculable proportions” – is that even today it determines how everyone in the west instinctively understands the notion of empire. What rises must fall. This seems to most of us almost as much a law in the field of geopolitics as it is in physics. Every western country that has ever won an empire or a superpower status for itself has lived with a consciousness of its own mortality.

In Britain, which only a century ago ruled the largest agglomeration of territory the world has ever seen, we have particular cause. Back in 1897, at the seeming pinnacle of the empire on which the sun never set, subject peoples from the across the world gathered in London to mark the diamond jubilee of Queen Victoria. Rudyard Kipling, the supposed laureate of imperialism, wrote a poem, “Recessional”, to mark the occasion – but it was the very opposite of jingoistic. Instead, it looked to the future in sombre and (as it turned out) prophetic terms:

Far-called our navies melt away;
On dune and headland sinks the fire:
Lo, all our pomp of yesterday
Is one with Nineveh and Tyre!

Today, in Washington, DC, precisely the same anxieties are being aired – and the example of Rome is often explicitly cited. In 2007, the then comptroller general of the US, David Walker, gave a bleak assessment of the nation’s prospects. America, he claimed, was afflicted by precisely the problems that he saw as responsible for the collapse of Rome: “declining moral values and political civility at home, an overconfident and overextended military in foreign lands and fiscal irresponsibility by the central government”.

American self-confidence seems to have clawed back at least some lost ground since then. Nevertheless, pessimism remains the default setting at the moment in both the US and the west as a whole. When a country’s capital city boasts a Senate and a Capitol Hill, the example of Rome’s decline and fall is always going to be lurking somewhere at the back of the mind.

Yet those who assume it to be an inevitable fact of nature that all empires, sooner or later, will come to share the fate of Rome need only look at America’s chief rival for the title of 21st-century hegemon to see that it ain’t necessarily so.

The People’s Republic of China, unlike the states of the modern west, stands recognisably in a line of descent from an ancient empire. Three years ago, a professor at the National Defence University in Beijing – a colonel by the name of Liu Mingfu – published a book about China’s future called The China Dream.

The title was an obvious riff on the ideal of the American dream; but the Chinese equivalent, it turns out, is as much about drawing sustenance from the past as about looking to the future. Unity at home, projection of strength abroad, the organic fusion of soft and hard power: these, according to the colonel, are in the DNA of Chinese greatness. How does he know this? Why, by looking to ancient history – and specifically to the example of Qin Shi Huangdi, the so-called First Emperor, who back in the 3rd century BC united China, embarked on the Great Wall, and established a template of leadership that even Mao admired.

Wild warrior of Leningrad: Vladmir Putin is undisputed king of Moscow, the "Third Rome". Image: Reuters/Ria Novosti.

It is as though US commentators, trying to plot a course ahead for their country, were to look to Caesar Augustus as an exemplar. The reason they would never do that is obvious. The US, for all that it has a Senate and a Capitol, is self-consciously a young country, planted in a new world. But China is old, and knows that it is old. Dynasties may have come and gone, waves of barbarians may have washed over it again and again, the emperor himself may have been replaced by a general secretary – but no rupture such as separates Barack Obama from ancient Rome divides Xi Jinping from the First Emperor. The “China dream”, in its essence, is simply the dream that the “Middle Kingdom” will regain what many Chinese see as her ancient birthright: a global primacy, at the heart of world affairs.

There is a taste here, perhaps – just the faintest, most tantalising taste – of a counterfactual: one in which Rome did not fall. That China was able to survive conquest by the Mongols and the Manchus demonstrates just how deep the roots of a civilisation can reach. What about the Romans in the heyday of their empire: did they have the same kind of confidence in the permanence of their empire the Chinese have always had? And if they did – what happened to that confidence?

People in antiquity were certainly aware that civilisations could rise and fall. It is, in a sense, the great geopolitical theme of the Bible. In the Book of Daniel, the prophet dreams that he sees four beasts emerge in succession from a raging sea; and an angel explains to him that each beast represents a kingdom. The fourth beast, so Daniel is told, symbolises the mightiest empire of all; and yet, for all that, it will end up destroyed “and given to the burning flame”. Gold and purple, in the Bible, are cast as merely the winding-sheets of worldly greatness.

The Greeks, too, with the example of the sack of Troy before them, were morbidly aware how impermanent greatness might be. Herodotus, the first man to attempt a narrative of how and why empires succeed one another that did not look primarily to a god for its explanations, bookends his great history with telling passages on the precariousness of civilisations. “Human foundations both great and insignificant will need to be discussed,” he declares at the start of his first book. “Most of those that were great once have since slumped into decline, and those that used to be insignificant have risen, within my own lifetime, to rank as mighty powers. I will pay equal attention to both, for human beings and prosperity never endure side by side for long.”

Then, in the very last paragraph of his history, he provides what is, in essence, the first materialist theory as to why civilisations should succeed and fail. The Persians, having conquered a great empire, want to move from their harsh mountains to a richer land – but Cyrus, their king, forbids it. “Soft lands breed soft men.” It is a perspective that Herodotus has been tracing throughout his account of civilisational vicissitude, using it to explain why the Persians were able to conquer the Lydians, the Babylonians and the Egyptians, only to come to grief against the poverty-stricken but hardy Greeks. Implicit in his narrative, written at a time when Athens was at her peak of glory, is a warning: where other great powers have gone, the Athenians will surely follow.

The Romans signalled their arrival on the international stage by fighting three terrible wars with a rival west Mediterranean people: the Carthaginians. At the end of the third war, in 146BC, they succeeded in capturing Carthage, and levelling it to the ground. This was the great fulfilment of Rome’s military aims. In 216BC Rome had almost been brought to defeat by Hannibal, Carthage’s most formidable general – a brush with civilisational death that her people would never forget.

In these circumstances, the destruction of Rome’s deadliest enemy was an exultant moment. Nevertheless, it is said of the Roman general who torched Carthage that he wept as he watched her burn and quoted lines from Homer on the fall of Troy. Then he turned to a Greek companion. “I have a terrible foreboding,” so he confessed, “that some day the same doom will be pronounced on my country.”

There were many, as the Romans continued to expand their rule across the Mediterranean, who found themselves hoping that the presentiment was an accurate one. Rome was a brutal and domineering mistress, and the increasing number of much older civilisations under her sway unsurprisingly felt much resentment of her autocratic ways. Greek traditions of prophecy began to blend with Jewish ones to foretell the empire’s inevitable doom. “Civil tumults will engulf her people,” so it was foretold, “and everything will collapse.”

A century on from the burning of Car­thage, in the mid-1st century BC, it seemed that these oracles had been speaking the truth. Rome and her empire were engulfed by civil war. In one particular bloody campaign, it has been estimated, a quarter of all citizens of military age were fighting on one side or the other. No wonder that, amid such slaughter, even the Romans dared to contemplate the end of their empire. “The Roman state, just like all states, is doomed to die.” So wrote the poet Virgil amid the horrors of the age.

But the Roman state did not die. In the event, the decades of civil war were brought to an end, and a new and universal era of peace was proclaimed. Rome, and the known world with it, were brought under the rule of a single man, Imperator Caesar Augustus: the first man in what was to be a long line of imperatores, “victorious generals” – “emperors”.

Virgil, perhaps because he had gazed into the abyss of civil war and understood what anarchy meant, proved a worthy laureate of the new age. He reminded the Roman people of their god-given destiny: “To impose the works and ways of peace, to spare the vanquished and to overthrow the haughty by means of war.”

By the time that Rome celebrated its millennium in AD248, the presumption that the city’s rule was eternal had come to be taken for granted by the vast majority of her subjects – most of whom, by this point, regarded themselves as Romans. “Everywhere,” as one provincial put it, addressing the Eternal City, “you have made citizens of those who rank as the noblest, most accomplished and powerful of peoples. All the world has been adorned by you as a pleasure garden.”

In the event, the garden would turn to brambles and weeds. Intruders would smash down the fences. New tenants would carve up much of it between themselves.

Yet the dream of Rome did not fade. Its potency was too strong for that. “A Goth on the make wishes to be like a Roman – but only a poor Roman would wish to be like a Goth.” So spoke Theodoric, successor to the king who had deposed Romulus Augustulus: a man who combined a most German-looking moustache with the robes and regalia of a caesar. He was not the first barbarian to find in the memory of Rome – the splendour of its monuments, the vastness of its sway, the sheer conceit of its pretensions – the only conceivable model for an upwardly mobile king to ape.

Indeed, one could say that the whole history of the early-medieval west is understood best as a series of attempts by various warlords to square the grandeur of their Roman ambitions with the paucity of their resources. There was Charlemagne, who not only had himself crowned as emperor in Rome on Christmas Day AD800, but plundered the city of pillars for his own capital back in Aachen. Then there was Otto I, the great warrior king of the Saxons, a hairy-chested lion of a man, who in 962 was also crowned in Rome. The line of emperors that he founded did not expire until 1806, when the Holy Roman empire, as it had first become known in the 13th century, was terminated by Napoleon.

“Neither holy, nor Roman, nor an empire,” Voltaire quipped. Yet the joke was not quite fair. There had been a time when it was all three. Otto III, grandson and namesake of the old Saxon king, crowned in 996 and charged with the rule of Christendom during the millennial anniversary of Christ’s birth, was nothing if not a Roman emperor.

He lived on the Palatine Hill, just as Augustus had done a thousand years before him; he revived the titles of “consul” and “senator”. He had himself betrothed to a princess from the Second Rome, Constantinople. His death in 1002, before his marriage could serve to join the eastern and western empires, left hanging one of history great “what-ifs”. Otto III’s ambition of reviving the Roman empire had been the great theme of his reign. Tantalising, then, to ponder what might have happened if he had succeeded in joining it to the eastern Roman empire – the empire that, unlike his own, could trace a direct line of descent from ancient Rome.

***

Today, when we use the adjective “Byzantine” to describe this empire, we risk obscuring the degree to which the people we call “Byzantines” saw themselves as Romaioi – Romans. It was not, however, to the Rome of Julius Caesar and Cicero they looked back, but to that of the great Christian emperors: Constantine, the founder of their capital, and Theodosius the Great, who at the end of the 4th century had been the last man to rule both east and west. In that sense, it was indeed the capital of a Roman empire that fell to Mehmet II, the Turkish sultan, when in 1453 he stormed the great walls built by Theodosius’s grandson a thousand years earlier to gird Constantinople, the “Queen of Cities”. It was indeed the last territorial fragment of the Roman empire that was conquered when, in 1461, the tiny Byzantine statelet of Trebizond was absorbed into the Ottoman empire. At last, a story that had begun more than 2,000 years earlier on a hill beside the Tiber was brought to a definitive end by Turkish guns on the shore of the Black Sea.

Or was it? The Turks were not the first to have laid siege to Constantinople. Back in 941, adventurers known as Rus’, Vikings who had travelled the long river-route down from the Baltic to the Bosphorus, had similarly attacked the city. Their assault had failed; but Miklagard, Caesar’s golden capital, continued to haunt their imaginings. In 986, one of their princes sent a fact-finding mission. Volodymyr was the lord of a rough-hewn frontier town named Kyiv – and he had decided that the time had come for him to join the community of nations.

But which community? He had invited Jews to his court; but after questioning them said their loss of Jerusalem was a sign they had been abandoned by God. He had invited Muslims; but was appalled to learn that their religion would not permit him to eat pork or to drink (as he frankly told them, “drinking is the joy of the Rus’ ”). He had sent envoys to the churches of the west; but there, so they reported back, “we saw no beauty”. Only in Constantinople, in the great cathedral of Hagia Sophia, had Volodymyr’s ambassadors discovered a spectacle worthy of their master’s ambitions.

“We knew not whether we were on heaven or on earth. For on earth there is no such splendour or such beauty. We only know that God dwells there among men . . . we cannot forget that beauty.”

So began a commitment on the part of the Rus’ to the Orthodox faith of the Second Rome that was to have enduring consequences into the present. Volodymyr had recently captured from the Byzantines the city of Chersonesus in the Crimea, originally founded as a Greek colony way back in the 6th century BC. He restored it to the emperor; and in exchange, it is said, received baptism in the city, together with the hand of Caesar’s sister. A momentous step. Never before had a Byzantine princess been given in marriage to a barbarian. The precedent it set was one that the Rus’ would never forget. In 1472, almost two decades after the fall of Constantinople to the Turks, the niece of the last emperor of the Second Rome was married to Ivan III of Muscovy. “Two Romes have fallen.” So a Russian monk, in 1510, would gravely tell their son. “The Third Rome, though, stands – nor will there ever be a Fourth.”

***

Moscow, to western eyes, does not look very much like Rome. There is no Senate there, no Capitol Hill. No buildings, as they do in Paris or Washington, seek to ape the look of Augustan Rome. Even so, if there is any country in the world where the tug of the Roman ideal can still be felt as a palpable influence on its leader’s policy, it is Russia. In 1783, when Catherine the Great annexed Crimea, it was in pursuit of a decidedly Roman dream: that of restoring the Byzantine empire under the two-headed eagle on her own banner. “You have attached the territories,” Potemkin wrote to her, “which Alexander and Pompey just glanced at, to the baton of Russia, and Chersonesus – the source of our Christianity, and thus of our humanity – is now in the hands of its daughter.” No one, as yet, has written in quite these terms to Putin; but if someone did, it would not be entirely a surprise.

Today, here in the west, dreams of restoring a Roman empire are gone for good. The shadows they cast are too grim. The most recent political philosophy to be inspired by them, and which even took its name from the bundle of rods with an axe carried by the bodyguards of Roman magistrates, was developed only in the 20th century: fascism. With Mussolini and Hitler, the millennia-old tradition in the west of looking to the Roman empire for a model reached a hideous climax – and then expired.

Yet if the First Rome is long gone, and the Second Rome, too, the Third, it turns out, retains an unexpected capacity to lurch up out of its grave. Even in the 21st century, the Roman empire clings to a certain ghoulish afterlife yet.

Tom Holland’s translation of Herodotus’s “Histories” is published by Penguin Classics (£25)

This article first appeared in the 14 May 2014 issue of the New Statesman, Why empires fall

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