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The Boris audit: the man who would be king

From the Bullingdon Club to City Hall, Boris Johnson has left his mark. But does he have what it takes to be the next Tory leader? We ask five experts to appraise his life, career and talent

Boris at Oxford

By Mark Field

The Boris phenomenon is nothing new. Three decades ago, when we were both undergraduates at Oxford, he cut an unmistakable dash. There was that ever-present shock of blond hair, of course. And although photographs of the time show a rather slimmer model (I fear that applies to us all . . .) he always seemed sturdily well built.

Boris Johnson’s cheerful charisma has meant that he has always been able to attract camp-followers. Although questions were raised even then about his bumbling buffoonery, his path to the presidency of the Oxford Union was assisted by a coterie of able allies, as was the road to the editorship of the Spectator (“like entrusting a Ming vase to an orang-utan”, as one wag described
it) and to the mayoralty of London. Somehow, buzzing around Boris, there always seem to be many talented men and women, strong at the organisation and administration where he is so weak, just clamouring to be a member of his gang.

At Oxford they were “my stooges”, as he christened them, not unkindly. Whatever scrape he seemed set to be undone by, there always seemed to be help at hand. From Darius Guppy to Toby Young, among countless others, mutual favours have been done and returned over the years – all part of a pattern that began in earnest during those halcyon university days.

He has always been a humorous and engaging orator. Close your eyes listening to Boris today and you could easily be transported back 30 years. That said, if you read a transcript . . . well, it’s pure gibberish.

I am sure it was no great loss to him (nor, in truth, to me) that Boris Johnson and I spent most of our university days in different social circles. His social life in term time revolved around the Oxford party scene – but the bright lights of London were never far away, especially during the vacation. He frequented the Gridiron and, more notoriously, the Bullingdon, clubs that were the mainstays of all-male eating and drinking activity. “The Grid” (chaired in a later undergraduate generation by David Cameron) was a small set of rooms at first-floor level in the centre of Oxford and it ran a little like Pratt’s or the Beefsteak in London’s clubland. It was an invitation-only establishment, predominantly the haunt of former pupils of the major public schools. It also had a legendary (and probably erroneous) reputation in the Oxford Union as possessing a huge block vote, which Boris naturally was well placed to exploit.

Our paths, perhaps predictably, crossed in the world of student politics. Boris won the presidency of the Union, but only at the second time of asking. His first attempt was beset by shambolic disorganisation; he learned to be more organised and on his second run won the prize by one of the largest margins on record. He rarely makes the same mistake twice.

I guess Boris might easily have followed the same path as other similarly well-connected Oxford undergraduates of our generation, into the City of London. Many leading figures in today’s investment banking and hedge-fund world were at Oxford in the mid-1980s – although few might have imagined how lucrative a career this would become. For Boris, however, fame was always the spur. It was clear to us all then that in some way he was heading for a prominent, high-profile role in public life.

Not that it was immediately obvious that he was going to be an MP . . . or a Conser­vative one, at least. Although that era was (with hindsight) the zenith of Thatcherism, a strong attachment to the Conservative Party was rarely a great vote-winner at the Oxford Union. This was compounded by the fact that Boris was at Balliol College, which has long had a left-of-centre reputation. While all leading Union candidates grubbed around for votes within factions of the Oxford University Conservative Association (OUCA), whose supporters were invariably also Oxford Union members, the clear impression many of us had of Boris was that his politics were centre-left with a tinge of environmentalism. I cannot imagine how such a reputation was cultivated . . .

It was only in the early 1990s, when reading his robust Eurosceptic polemics from Brussels in the Daily Telegraph, that I realised where his party political allegiances truly lay. There was always something of the contrarian about him – and even now I wonder whether this may have been a rather deliberate attempt to stand out from the run-of-the-mill Brussels correspondents faithfully reporting the goings-on at the European Commission and Parliament. 

Mark Field is the MP (Conservative) for the Cities of London and Westminster

 

Boris the man

By Sonia Purnell

So, Boris Johnson has broken a solemn promise yet again – only this time not to his long-suffering wife, Marina. He has ratted instead on eight million Londoners, breaking his pledge not to stand as an MP at next May’s general election while continuing to draw a salary as their mayor.

Barring great upsets, the good burghers of Uxbridge and South Ruislip will have to make do from next May with whatever time Johnson has left over after running London, writing a weekly Telegraph column, promo­ting books and hosting radio shows.

It is arguable whether any of Johnson’s many and various paymasters will be awarded a “fair squeeze of the sauce bottle”, as the mayor himself has been known to put it. (Although there will no doubt be plenty of time found in the week for his inexhaustible campaign to become prime minister.)

Johnson has form on part-timing in full-time jobs. Back in 2001 when he first became an MP he allowed voters in Henley to believe that he would give up his then editorship of the Spectator. He told the owners of the Spectator he would not stand as an MP. He swiftly reneged on both undertakings, leaving both parties feeling cheated and short-changed. (A livid Conrad Black, then the Spectator’s owner, called Johnson “ineffably duplicitous”.)

Uxbridge Tories, take note: very few in his old constituency would want him back. Johnson was selected for the plum seat in 2000 after an anonymous smear campaign mortally damaged his two principal opponents. His general flippancy – and flip-flopping on such grave questions as the invasion of Iraq – led to several local party members leaving the Conservative Party altogether, and others spoiling their ballot papers in protest. Many more tired of his growing indifference to constituency issues such as the closure of a hospital.

The president of the Henley Conservative association, the late Maggie Pullen, said she was “devastated” at his selection, and although she found a way to work with him she never truly changed her opinion. As another long-suffering colleague once put it: “The closer you get to Boris Johnson, the less you like him.” Even his one-time local fans were angered by his decision to run for Mayor of London in 2008 without consulting them, while trying also to keep his parliamentary seat. Sound familiar?

In the heady “Sextator” days of Ruinart champagne and chesterfield sofas, Johnson was also busy breaking his marital vows. The reputation he won as a permanently priapic politician was nevertheless popular at the time with the young, the apolitical and the envious. Pictures of him slipping out of the Chelsea flat of the education journalist Anna Fazackerley – his trademark mop poorly disguised under a black beanie – made it all look like something out of a French farce. Only, as we know, the women in these escapades often end up hurt and hounded, and sometimes pregnant.

Even the extraordinary indulgence of voters, let alone Marina, has limits, as has been forcefully pointed out to Johnson by no less a figure than the Tories’ abrasive election guru Lynton Crosby. Any further revelations in that area, Johnson has been instructed, would result in his “f***ing knees” being “cut off”.

Now that he sees Downing Street as finally within his grasp, his lust for power appears to have overcome his lust for impressionable young women with swishy hair and plunging necklines. It is four years since he was last caught in the arms of another woman. It is even longer since that he notoriously tried to deny rumours of his philandering with Petronella Wyatt – whom he twice made pregnant – as an “inverted pyramid of piffle”. But what he said then should still trouble us now. It is acceptable, even desirable, he informed his party leader Michael Howard in 2004, to lie to the press.

More recently, in May 2013, Johnson’s “fitness for public office” was called into question by no less an authority than the Court of Appeal. Ruling that the public had a right to know about his lovechild by an art consultant, the judges decried the “reckless behaviour” he had shown in allowing at least two children to be conceived through various infidelities. Few can recall the “private and professional” character of any serving senior politician being excoriated so openly in a court of law, which ruled that his disregard for the feelings of others was so deep
that it constituted a matter of public interest.

It is this recklessness that frightens the establishment horses – and should frighten us. A John Major-era Conservative minister sums up a view common among his generation as “Johnson must just be stopped”. There are even rumours of a “bottom drawer” of material on Johnson for release by party elders, should he edge even closer to the big black door with “10” on it.

As editor of the Telegraph, Sir Max Hastings did much to further Johnson’s career. He in effect overlooked how Johnson had apparently agreed to help his friend Darius Guppy beat up an inquisitive journalist by supplying his address. He rescued Johnson after he was fired by the Times for making up quotations. He gave him the opportunity to make his name – and ultimately his fortune – by sending him in 1989 to report on the European Union in Brussels.

Johnson’s virulently Eurosceptic reports delighted Margaret Thatcher and spawned a whole style of creative journalism. But their growing detachment from the truth left his credibility shot among his peers (and, eventually, his bosses back in London). James Landale, now the BBC’s deputy political editor, wrote a spoof Hilaire Belloc poem beginning:

Boris told such dreadful lies

It made one gasp and stretch one’s eyes . . .

Since then his unworthy conduct – including trying to weasel his way out of paying up on a lost bet on the outcome of the 2010 election – has convinced Hastings that his trust in his one-time protégé was misplaced. He has since written that if Johnson makes it as prime minister, he will board the first plane out of the country.

Nor is Hastings the only one who has learned to distrust Johnson. In March 2011, the mayor was rebuked by the UK Statistics Authority, the official watchdog, for “damaging public trust” after releasing inaccurate public transport crime statistics. He was also criticised for numbers that “do not appear to stand up to public scrutiny” after repeatedly using questionable figures to support lavish claims of success for an initiative aimed at a youth offenders (which later failed so spectacularly that it was closed down).

In 2012, our prospective prime minister also claimed that most cycling accidents were caused by cyclists’ own law-breaking – an equally false pronouncement that was, eventually, grudgingly withdrawn. Other figures he has released on subjects as diverse as housebuilding and police numbers have proved just as spurious.

Trust in politicians – or the lack of it – has become one of the burning issues of our times. Voters, feeling lied to and let down, yearn to be able to believe in their politicians again. But Johnson, for all his claims to be an authentic alternative, is more the problem than the answer. 

Sonia Purnell is the author of “Just Boris: a Tale of Blond Ambition” (Aurum Press, £8.99). Her new biography of Clementine Churchill will be published next year

 

Boris the Tory

By Andrew Gimson

What kind of a Tory is Boris Johnson? No one has yet provided a satisfactory answer. His enemies veer between dismissing him as a clown and denouncing him as an evil right-winger. Neither has the merit of being true, and taken together they have the drawback of cancelling each other out. Bertie Wooster can’t also be Norman Tebbit.

Part of the trouble is that the question invites an ideological answer, and once you start searching for one of those, you become increasingly lost, and find yourself wandering through a forest of murky concepts, some of which may fit some Tories, but none of which applies to Johnson. None of the think tanks that have exercised such a strong influence on Tory thinking over the past 50 years has left the faintest mark on Johnson. He is not an ideological politician: does not crave the support of some theory that explains everything and can guide him as he devises policy. Nor is he a postmodern figure. It would be more accurate to describe him as premodern.

His imagination was captured as a boy by ancient Greece and still disports itself there, before the dawn of Christian guilt. While I was researching my biography of him, one of his oldest friends assured me that he lives in a world of gods and heroes. These gods watch over him, set him trials, test his courage and resourcefulness, establish whether he, too, has the makings of a hero.

Johnson’s own account of his love affair with the Greek world is more democratic than this. It was given on 4 September in his speech about Pericles to the Legatum Institute in London, which can be seen on YouTube. I have only just watched it, and can report that it is a tour de force. What a brilliant schoolmaster Johnson would have made: conveying his love of his subject in language so lucid and joky that it holds the dimmest listener, but so learned and penetrating that it stimulates the cleverest. He ended: “Let us keep . . . alive . . . that spirit of freedom that Pericles exalted – a spirit of democracy and tolerance and cultural effervescence and mass political participation. That is what we believe in. That is what makes London great. In the Thucydidean phrase, let us keep it as a possession for ever.”

These noble sentiments have the practical advantage of translating into a simple mayoral programme. London, he has been telling us since 2007, when he first decided to run against Ken Livingstone, is the greatest city in the world, and our task is to make it greater. A Labour or Lib Dem voter might be just as tempted as a Tory to endorse that line. Nor is there much that is specifically Tory about Johnson’s more detailed positions: his love of freedom might just as well be termed Liberal, and is certainly shared by many on the left. Johnson has called (like Pericles) for a tolerant immigration policy, and in 2008 he precipitated the resignation of a Metropolitan Police commissioner, Sir Ian Blair, whose response to the killing by a police officer of an unarmed Brazilian had been grotesquely inadequate. The mayor has also called for tolerance of bankers, because they contribute to the prosperity of London. He wishes for the same reason to build an enormous new airport (Pericles completed an enormous new harbour).

The answer to the question of what kind of Tory he is perhaps turns out to be that he is not a Tory at all: that he transcends party boundaries. Towards the end of October, Johnson will bring out a book, The Churchill Factor, about another Tory who never allowed party loyalties to confine his view of the national interest. Winston Churchill spent 20 years as a Liberal before rejoining the Conservative Party, and was happiest leading a wartime coalition that included Labour ministers, as well as various individuals to whom one cannot attach party labels. He expressed his hostility to mere party organisation at the end of his biography of his father, Lord Randolph Churchill, whose career had ended in failure:

There is an England which stretches far beyond the well-drilled masses who are assembled by party machinery . . . an England of wise men who gaze without self-deception at the failings and follies of both political parties . . . It was to that England that Lord Randolph Churchill appealed.

And yet Johnson is quite clearly a Tory. However happy he would be leading a coalition, he is also loyal to his own tribe, and each year at the party conference he manages with a burst of cheerful, pugnacious, magnanimous, disrespectful, scene-stealing oratory to make his audience feel good about being Tory. Many of the rank and file love him.

So the question still arises: what kind of Tory? The best answer I have been able to obtain is from Lord Lexden, the official historian of the Conservative Party: “The Tories always need brilliant adventurers to provide excitement and charm in what has traditionally been a thoroughly dull party created in the image of Sir Robert Peel. Disraeli complained that none of his colleagues knew how to give a decent dinner; he enlivened the consumption of their dreadful fare with his coruscating wit and, until the sniggers became too great, with his outlandish clothes and jewelled fingers. He derived much inspiration from the originator of this vital strain in the Tory tradition: Henry St John, Viscount Bolingbroke – drunken rake, womaniser, inspired writer and riveting speaker – who worked tirelessly exactly 300 years ago to control events on the death of Queen Anne but lost out completely to his equally unscrupulous Whig opponents when the Hanoverians arrived.”

Lexden adds: “There are times when the Tories like to be led by their adventurers – Disraeli himself in the 19th century; Macmillan in the 20th. On the other hand, Lord Randolph Churchill, father of Winston, having mesmerised the party for six years in the 1880s, came to regard himself as indispensable, blundered and was ruthlessly marginalised by the dullards. The long line of Tory adventurers has produced almost without exception clever men equipped for leadership but without any certain prospect of actually attaining it.”

Lexden is right: this is the tradition to which Johnson belongs. He a Tory adventurer. No wonder serious-minded people on both sides of politics cannot bear him and are desperate to find ways of discrediting him. He sometimes attempts, by long periods of sober behaviour, to allay their fears and prove how steady he is. But his attraction is that he is a cavalier, a freebooter, a man ready to fling himself with a cry of “All for one, one for all” into any fight that suddenly seems worth fighting. He may, like Bolingbroke or Lord Randolph Churchill, risk everything and fail. He may, like Disraeli or Winston Churchill, come through being dismissed as ridiculous and climb at last to the top of the greasy pole. We have no idea what will happen next, and that is one reason why he is so watchable. 

Andrew Gimson is the author of “Boris: the Rise of Boris Johnson” (Simon & Schuster, £8.99) and is a contributing editor of ConservativeHome

 

Boris the mayor

By Sadiq Khan

In the end, history judges politicians by their record rather than their words. And in the case of Boris Johnson, we won’t be needing the benefit of hindsight. Boris is a fantastic performer, whether on Have I Got News for You or hanging from a zip wire. His sense of humour and “unique” turn of phrase did much to make the 2012 Olympics the huge success the Games were. But when it comes to his record on London, too little progress has been made in tackling the challenges we face today, let alone preparing for those of the coming decades.

The list of Boris’s failures as mayor is long. He has done nothing to tackle the city’s increasingly desperate housing crisis. During his mayoralty, not a single major transport or infrastructure project has been started to help deal with our ever-burgeoning population. Our air has become significantly more polluted, with no plans to reverse this. He leaves London a city that is more unequal and divided, and in a worse position to meet the challenges of the future than when he found it.

Perhaps the single most notable record of Boris’s six years as mayor has been the huge rise in inequality in the capital. London is home to more millionaires and billionaires than any other city in the world. The number of millionaires has increased by almost 60 per cent since 2008. This is not in itself a bad thing – but, at the same time, poverty has rocketed. An unbelievable one-third of Londoners now live in poverty – and two-thirds of them are in work. On Boris’s watch, London has become a city in which the wealthy have got even wealthier, enjoying the best food, culture and arts in the world, while most Londoners have been left behind, squeezed between falling real wages and fast-rising costs.

An important cause of the rise in inequality is London’s housing crisis. It’s not merely that home ownership is now out of reach for the vast majority of Londoners but, increasingly, so is renting. Housebuilding has fallen to the lowest level since the 1920s. The supply is well short of what we need to keep up with population growth, let alone meet the backlog. The mayor has given developers a free pass on building affordable homes as part of new property schemes – and local authorities are getting a worse deal as a result. He has increased the definition of “affordable” rent to 80 per cent of the market rate: not really affordable at all.

It’s not just the cost of housing that has risen. The cost of a Travelcard for zones one to six has increased by £440 since Boris became mayor. Tube fares have gone up by way above inflation every year. If the increased revenues were being used to build new infrastructure, that would be justifiable, but not a single important infrastructure project has been started. This has been particularly damaging for the poorest Londoners, who have had to move further and further out, due to rising house prices.

London’s population is growing faster than ever; it is poised to increase by the same number as the combined populations of Edinburgh, Cardiff and Belfast in just over a decade. With our Tube and bus network already operating at capacity, we need new infrastructure to cope. Yet nothing has happened under Boris. Ken Livingstone delivered Crossrail, due to open in 2016, but in six years no progress has been made on Crossrail 2. Plans to build much-needed river crossings in east London have been cancelled, restricting economic development in the poorest part of London and reducing transport capacity across the city. Instead, millions of pounds and six years has been wasted on a series of vanity projects that have done nothing for Londoners: a cable car that no one uses, a new fleet of buses that take fewer passengers but are more expensive, and a garden bridge that isn’t needed.

In many ways, Boris Johnson’s time as mayor shows the limits of a laissez-faire approach to government in the modern world. If you don’t do anything, then simply nothing happens. 

Sadiq Khan MP is the shadow minister for London

 

Boris the writer

By Leo Robson

Taken at face value, Boris Johnson’s prose suggests a fool. Closer inspection reveals a cynic. His journalism, mostly written between the late 1980s and the early 2000s, was designed to make him appear honest and serious about such topics as the racism of the EU, the London housing market, the virtues of tolerance, Bill Clinton, the Balkans. But there came a point, around the turn of the millennium, when honest and serious became the things Johnson least wanted to be, or wanted to appear to be, the distinction getting hazier as time went on. Changes in his prose formed part of a broader programme of manicured buffoonery, “Boris” being an invention of the page as much as the screen.

Before long, he was a specialist in writing sentences such as this: “I know that there will be some who read this page – high, sacerdotal intellects – who feel that the hot seat of Have I Got News For You is not the place for an homme sérieux.” Johnson’s ploy, here as elsewhere, is to hide his own seriousness by mocking other people’s (their “sacerdotal intellects”), while maintaining a pretence of ironically adopting habits – in this case, the use of foreign phrases – to which he is genuinely inclined.

A fear, not exactly of the serious, but of intellectualism, underpins the feigned vagueness behind: “It is, I believe, what Jung would call an archetype . . .” It is phrased in such a way as to suggest that, while we might be able to paraphrase with unabashed confidence the thinking of Plato or Edmund Burke, you never can tell what these modern Continental thinkers are on about. This is a man afraid and ashamed of his own intelligence, desperate to make it something friendlier.

It’s a complicated conflict or con trick, as Johnson is aware, even if awareness is as far as it goes. In his dexterous though hardly inspired satirical novel Seventy-Two Virgins (2004), the American assistant to an MP notes how her boss will give “an intelligent answer” and then “throw it all away with some flip aside”. Her accusation is one of “moral evasiveness . . . she couldn’t help wondering about his IDEALS. His VALUES. His CORE BELIEFS.” Baffled, she wonders: “Just what kind of a Conservative was this guy, anyhow?” Later in the novel, a French diplomat trained in “the ancient art of . . . arguing for whatever side of the case he happened to be on” finds his voice suddenly “taking on the choky timbre of absolute sincerity”. (Typically, the case sincerely made is pro-American.) That Johnson himself never chokes, preferring a weightless fluency, is partly acknowledged in a note appended to his jaunty 1999 interview with the war criminal Željko Ražnatovic, reprinted in Johnson’s anthology Have I Got Views For You: “I feel embarrassed about the tone.” The Boris tone isn’t exactly a product of his political ambition but
it is a product of the same root cause as his political ambition, a need to be loved. If he is at all capable of being embarrassed by the failures of sense and taste committed in this quest, then he is surely a man in great pain.

It’s not often that Johnson experiences the need to apologise for not taking things seriously enough. Most of the time, he gets the balance just as he wants it. He cannot expunge seriousness altogether – a celebrity politician is still a politician – but nor can he let seriousness become so dominant that it squeezes out fun. An interest in the classical world, however geared towards the useful lessons it offers the present day, is something he tries to dilute. It is easily done. You simply drop into the lower register, as in the opening sentence of his schizoid book The Dream of Rome: “No one knows the exact moment when Publius Quinctilius Varus realised what a colossal idiot he had been, but when the barbarians on either side of him started uttering their war cry we must assume that the penny finally dropped.” (The war cry resembles “a roaring noise like a chorus of Rolf Harris didgeridoos”: a Times review described his style as “bright, breezy, populist and pacy”.)

The Rome book, first published in 2006, relies to an extreme degree on casual English, an approach that might be mistaken for a Reith-like educative populism but is really catering to the reader’s presumed view of the past as something in need of thawing. As an exponent of classical values, Johnson, in contrast to, say, T S Eliot, proceeds by putting a little-known fact in close proximity to phrases such as “get cracking”, “a popular fellow”, “What a shindig it was”, “imperial good-time girls”, “jolly cascade of bosoms”, “So-rree, Marcus!”, “letting the side down”, “he blubs because he is not yet a praetor”, “far too fly”. These mannerisms tail off after a hundred pages. Job done.

But colloquial language doesn’t just sweeten the pill. It also disguises it. The Dream of Rome isn’t coddling us into knowledge of the Roman empire, as it might seem, but into understanding why the modern EU, of which Johnson is a devoted enemy, could never achieve such unity. His Life of London, reissued as The Spirit of London after the Olympics, offers a Whiggish account of the sort of London enterprise and innovation that culminated in the happy city – Otto­lenghi provides the bread, Lord Coe the circuses – of which, at the time of publication, Johnson was incumbent mayor, with an election looming. In other words, Boris books are just the sort of campaign manifestos a politician might produce after he has forfeited the right to be taken at face value. They have become the most reliable means of assessing the focus, and size, of his ambitions. The next one’s on Churchill. 

Leo Robson is the NS lead fiction reviewer

This article first appeared in the 24 September 2014 issue of the New Statesman, The cult of Boris

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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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