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Harriet Harman: the irresistible force

Is Harriet Harman the most successful politician of her generation?

As the year 1982 began, Harriet Harman had a plan. She was already the parliamentary candidate for the safe Labour seat of Peckham, where her 66-year-old predecessor, Harry Lamborn, had announced he was standing down. If she had a baby now, she could get back to work before the next general election the following year.

Once she was pregnant, she and her partner, the union official Jack Dromey, swallowed their qualms about the patriarchal institution of marriage, “for the sake of my parents and my constituency”. In her memoir, A Woman’s Work, she records the scene at Willesden Register Office, north London, in August 1982: “There was no wedding ring, no white dress, no flowers, no vowing to obey, no father giving me away. Neither my, nor Jack’s, parents were invited.” In fact, there were no guests at all – just two witnesses. Harman wore a hot-pink dress and made no effort to disguise her bump.

Immediately afterwards, the newlyweds set off for La Rochelle in south-western France, with Dromey stopping the car frequently so his new wife could lean out and be sick. Sitting by a lake in the sunshine, they found a three-day-old copy of the Times, which carried the headline: “Labour MP dies”. It was Harry Lamborn.

And so Harman contested the resulting by-election while five months pregnant. She says the campaign of her SDP challenger, Dick Taverne, tried to suggest this was a problem – but the strategy backfired when working-class women in the constituency pointed out that they’d held down a job while raising their children. (Taverne says this claim is untrue, and that in his election night speech he expressed his happiness that Harman’s pregnancy did not stop her being elected. “I did not approve of her political views at the time, which have somewhat changed,” he tells me now. “I have much admired her record since and wish she had become Labour leader. The party would not be in the desperate and tragic state it is now.”) 

On election night, Harman ended up babysitting for a woman on the Glebe Estate who had wanted to vote but whose husband was late home from work. “That was just one of so many encounters which reinforced in me the belief that I had a particular mandate from women, and that it mattered to them and was important that I was different from the men,” she writes.

In her Commons office overlooking the chocolate-box grandeur of Big Ben, I ask her if life became easier once she’d arrived in parliament aged 32. In 1982, there were only 19 female MPs: eleven from Labour, and eight from the Conservatives – including Margaret Thatcher. “I was expecting to come in with other women,” she says now. “And then it was me, pushing open that enormous door. You know the doors to the House of Commons, opposite the Speaker? They are so huge and heavy . . . it was like the women’s movement was this irresistible force, but meeting the implacable object of the House of Commons.” She remembers hundreds of men in grey suits, with an average age of 54, surrounding her in her red velvet maternity dress. “It was awful.”

In December 2016, the 66-year-old Harriet Harman became the longest continuously serving female MP. After the 2015 election, there were 191 women on the green benches, including 99 from Labour. Her memoir is one giant rebuke to those who would dismiss efforts for more equal representation as tokenism or anti-meritocratic. There is strength in numbers; the equalities agenda to which Harman has dedicated her life would have faltered without a movement behind it.

 

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Harman now occupies a unique position in British politics. There is a faction of the right that finds her more irritating than almost any other politician from the Blair years, possibly because she is still around to annoy them. The work of Quentin Letts of the Daily Mail encapsulates the charge sheet. She is posh: “Educated at St Paul’s, this scion of the Pakenham family has become the Gromyko of Camberwell”. She has aged: “Those cheeks (on her face) have lost some of their usual pouchy pulchritude,” he lamented in 2007. She is humourless and perpetually vexed, “the frumpish Lady Indignant” (2015). And above all, she is Harriet Harperson, “Britain’s most ear-drillingly insistent feminist” (2013).

Over the years, such attacks as these have been counterproductive. Whatever problems other women in the party had with Harman, they could see how unfairly she was treated. And for the next generation, her resilience in the face of endless brickbats was inspiring. Jess Phillips, who was elected the Labour MP for Birmingham Yardley in 2015, opens her book, Everywoman, with Harman warning her that being a public feminist means “you will never be popular”; she says it felt as if the older woman was passing on the baton. A review of both books by Julie Burchill favourably contrasted the “gobby Brummie” Phillips with the “bogus and bossy” Harman. But the 35-year-old says this misses the point. “I get to be me, because she was so derided for so long,” Phillips says. “It’s like: my mum had to moan about the patriarchy, whereas I get to be funny about the patriarchy.”

Phillips says that Harman’s strength came from rejecting the idea that women should be in competition with each other. “She said to me, ‘There’s no need for people to compare us. We’re from different generations. You’re like Deliciously Ella, and I was Delia.’ And it’s true! Like we are using limes now, it feels like we always had coconut milk in our lives, and now people like us can make curries. That’s what Harriet did: she brought flavour to the Labour Party. So now I get to have a cocktail.”

One of the most interesting questions to ask anyone in Labour is this: is Harriet Harman funny? Half of those you ask will say that she is. “She learned how to slay with a joke,” says a former staffer. “At home, she is fun, silly, warm,” says her daughter, Amy. Yet others see someone who has learned to smother her humour for fear of being misinterpreted or dismissed. “Her generation – including Jack – are a bit humourless,” says one woman in the current parliamentary party. “They couldn’t be funny, because ­being Labour was so hard in the 1980s.” ­Alison McGovern, the Labour MP for Wirral South, puts it another way: “Women can’t be funny, because we’re already not taken seriously.”

The other criticism is that Harman is robotic – that she is typical of the control-freakery of the New Labour era, in which ministers were discouraged from thinking for themselves. “I can’t stand her,” one BBC producer told me recently. “She just parrots the line.” I put this to her: isn’t the rise of Donald Trump and Jeremy Corbyn, in their different ways, a reaction against her style of politics? Being loyal to the point of repetition has firmly gone out of fashion. “Yes, but it hasn’t in terms of what makes things work in politics,” she replies, crisply.

That loyalty has led to situations she now finds it uncomfortable to discuss. In her book, she mentions being sent out to defend Gordon Brown after Caroline Flint accused him of using women as “window dressing”. Soon afterwards, the prime minister revealed that – having refused to make Harman deputy PM despite her being deputy Labour leader – he had, in effect, given the job to Peter Mandelson, making him first secretary of state. So Flint was right, wasn’t she? Trying to explain her response, Harman’s already frequent use of the word “like” in conversation steps up a gear. At the end of it, she adds: “I was very careful not to criticise Caroline, and did words like, ‘We all want to make more progress.’”

I ask Flint how she felt about the incident. “Lonely and isolated”, she says. “Everything that Harriet has said since goes some way to vindicating what I was saying – you can have women around the table but unless they have meaningful influence, it feels like you’re there for the appearance only.” Nonetheless, Flint says that their relationship is now positive. “In shadow cabinet [under Ed Miliband], she did try to draw ­attention to some of the issues I was trying to raise about who we’re appealing to.”

For at least a year now, I’ve been putting a startling proposition to former and current Labour politicians, staffers and activists. Is Harriet Harman the most successful left-wing politician of her generation? She has dramatically increased the number of female MPs and ensured that women’s lives and needs are part of the political conversation. The Equality Act 2010, passed in the dying gasps of the Brown government, made significant demands on employers. They were no longer allowed to bar workers from comparing their pay; laws were brought in against age discrimination; positive action was allowed to increase the recruitment of minorities.

Its “Clause One” was so radical that it has still not been enacted. After all, it asked public bodies to strive to “reduce the inequalities of outcome that result from socio-economic disadvantage”. In other words, the public sector would have to take class into account in everything it did. (At the time, the journalist Polly Toynbee called it “socialism in one clause”.)

Harman regrets now that it was never enacted: “It would have been a big signal that class inequality is at the heart of what we’re concerned about.” But getting the bill passed at all was a struggle. Ayesha Haza­rika, who worked as Harman’s special adviser for women, compared the mood in her office to the film Cool Runnings, in which the Jamaican bobsleigh team improbably get to the Winter Olympics. “The civil servants said [the bill] was a mopping-up exercise, and she stood up and told them it wasn’t: it was a once-in-a-generation opportunity to do something radical. Their faces were full of horror and disbelief.” Other parts of Whitehall, particularly the Department for Business, were obstructive. “I came back browbeaten by a load of male special advisers and she would say, ‘Ayesha, we will not take no for an answer.’”

 

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Here’s an easy way to wind up a right-winger: tell them that Harriet Harman is an anti-establishment politician. Yes, like Nigel Farage, she is the product of a comfortable home – her father was a doctor and her mother was a lawyer – and attended private school. But during her early career, she challenged the male dominance of parliament, the Labour Party and lobby journalism. She tells me early on in our conversation that she has a challenge she wants to throw down: Labour should publish its gender pay gap. “Let’s not just be [saying] we believe in equality – let’s be prepared to confront what is going on. So in each workplace, the women and the men can see how they’re differently valued.”

Unsurprisingly, this willingness to criticise her own party’s structures has made her enemies. John Prescott couldn’t stand her, muttering as she walked back from winning the Labour deputy leadership that he wouldn’t help her. (By contrast, Alan Johnson – whom she beat by less than 1 percentage point for the role – wrote in his memoir that she was the better candidate.)

Now, she won’t be drawn on what Prescott’s problem was, though she contrasts him unfavourably with Johnson. “Alan is very unusual in that he can see the bigger picture, and knows what is the right thing to do, and the right thing is to pull people together if you’ve lost an election.” She then drops in a casual criticism of the kind that occurred so often in her book, I gave it a nickname: the Harriet drive-by. “And David Miliband didn’t do that.”

It is hard to recall, now that feminism is so mainstream, but during the 1980s Harman was regarded as a dull, single-issue crank. (Her maiden speech in the House was on childcare.) When she called for half of Labour MPs to be female, “all the men felt it was a personal attack on them”. When she returned to work after her first maternity leave, one of her colleagues reported her to the serjeant-at-arms for taking the baby through the division lobby under her coat. She had to explain to the official that, in fact, “I was still fat from being pregnant.” She now says that such behaviour “was like harassment, really” and it made her want to give up. “But I couldn’t leave, because it would have been literally sending out the message that women can’t hack it.”

She describes it as “a bit of a mortification” that the Conservatives have elected their second female leader before Labour has managed a single one. She prefers not to use Theresa May’s name, referring acidly to “her”, and is sceptical of May’s pledge, in her first speech outside Downing Street, to be a champion of equality. “It’s like how I felt when Margaret Thatcher said ‘let there be peace’ when she was causing absolute misery and division within and between communities . . . If you want to change things, and change them for the better, you don’t join the Tory party.” She believes most Conservative attempts to increase female representation spring from the realisation that it’s good PR. In 1997, when 101 female Labour MPs were elected, she says, the Tories realised “they were going to have electoral problems if they looked like the 1950s Politburo and we looked like today”.

Her book is clear on the highs and lows of politics. The lows include her sacking from her first cabinet job, and the highs include the back-room role of solicitor general, improving the conduct of domestic violence and rape trials. She survived the unbroken opposition of the 1980s with her drive intact, but admits that the party is once again in “wilderness years”. She adds: “What we learned in the 1980s is that there’s no point kidding yourself that things are better than they are . . . and you can’t just wait for people to get fed up with the Tories, because people were fed up with the Tories in the 1980s. I mean, Thatcher had become such a hate figure, they even had to get rid of her, but it still didn’t mean people came to us.”

Harman admits she has struggled throughout her career with the idea that she was a bad mother, though the culture of parliament did little to help. In 1989, she took her son to the cinema at half-term, only to receive a pager message asking her to stand in for the shadow health minister Robin Cook in the Commons. She decided not to reply and expected a reprimand when she later told him simply: “I was not available.” Instead he beamed at her and let her go. On her way out, she realised that he had assumed she was having an affair.

The incident taught her two things: first, that no one is indispensable (in the end, Frank Dobson stood in). Second, it showed the double standards of a male-dominated workplace: “It would, in the eyes of my colleagues, have been beyond the pale for me to be absent because of my children, [but] falling down in my duties because of an affair was not only understood by my male colleagues but thoroughly approved of.”

She is still unashamedly maternal. Jess Phillips calls her “the mom of the Labour Party”. (Another female MP describes her as a “queen”, noting that her initials are HRH.) When I spent a day with her in 2015, Harman joked that she had subsumed her hunger for grandchildren into buying two Burmilla kittens, Minky and Silvio. Her daughter, Amy, is a classical musician, her older son, Harry, works at Channel 4, and Joe is a Labour councillor in south London. (The boys have their father’s surname, while Amy is a Harman.) Harman tried to shield them from the press interest in her life, though that wasn’t always possible. “I never found it weird seeing her on TV,” says Amy now. “But once, a classmate said that their dad told them that my mum hated men. And I was like, ‘She likes my brothers and my dad!’”

A frequent criticism is that Harman’s brand of feminism focuses too much on women like her. “She’s always employed women in her office,” says a Labour staffer. “But mostly they are quite privileged. I don’t know if she doesn’t see it, or if she just thinks it’s not her job.” One female Labour MP says “if you’re in her gang, she’s a tiger. But if you’re not, it can be quite brutal.”

Another former staffer describes a story about a Glasgow housing estate that circulated during the Gordon Brown years. “The story is that Harriet is door-knocking and a guy comes to answer in a football shirt, drinking a can of beer. And she asks him what he’s up to, and he says, ‘Watching the horses’. And she replies, ‘Oh, showjumping?’”

The story is almost certainly untrue – it has the same structure as the one told about Peter Mandelson mistaking mushy peas in a chip shop for guacamole – but the person who told it to me said it persisted because of its fundamental truth. Yet even if Harman is posh, she’s not elitist. “I’ve been out with other politicians who wouldn’t have got out of the car in that kind of estate,” he said.

This perception of her class privilege has made her life more difficult. When I ask Alison McGovern why so many people hate Harman, she replies, “There’s a simple answer to that: because she’s a woman. The more complicated answer is: because if you’re a working-class man, you feel she hasn’t struggled in the way you have.” This tension is a running theme between the trade union movement – long dominated by men – and left-wing feminism. “If the Labour Party’s central job is to raise wages at the bottom of the income distribution, right now that’s women,” adds McGovern. “The care sector, the hospitality sector – those are dominated by women.”

This chimes with my memories of shadowing Harman on the much-mocked “Woman to Woman” tour during the 2015 election – you know, the one with the notorious Pink Bus, which she insisted was actually “one-nation magenta”. It felt totally different from the rallies and set-piece speeches that otherwise dominate election campaigns; at one point, we ended up in a café in Leamington Spa, passing round an adorable baby as the child’s mother told us how she was struggling to find work that fitted around her ability to find childcare. Harman listened intently.

 

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There is a strange circularity to Harriet Harman’s front-bench career. It began in 1997, under Tony Blair, when she was made minister for social security. From the start, the appointment was troubled. She was also minister for women and equality, and her department resented half her focus being elsewhere. Turf wars broke out: the Home Office wanted to lead on domestic violence, while David Blunkett at Education wanted to be in charge of childcare. Her deputy at Social Security, Frank Field, had been working on benefits reform from the back benches and, Harman says, saw her as a “Blairite loyalist”. It also transpired that Blair had given Field the impression that Harman was merely keeping the seat warm until he could become secretary of state.

Her downfall came through a manifesto pledge: Gordon Brown as chancellor had committed Labour to observing Tory spending limits for the first two years in government. So she had to cut benefits for lone parents by £6 a week. By 1998, in the middle of press reports about her uselessness, she realised she was a dead woman walking. “I could even sense my diary secretary hesitating to schedule appointments,” she writes in the book. She was duly sacked in the next reshuffle. (Frank Field
resigned rather than be moved to another department, and has remained on the back benches ever since.) “What I should have done is made it not just my problem but everybody’s problem,” she says now. “If I’d had the energy and the political experience, I never would have got into that position.”

But fast-forward to the summer of 2015, when Harman – now acting leader – was again confronted with a manifesto pledge to match Conservative welfare cuts. The “benefits cap”, restricting the maximum amount a household can claim, was in Ed Miliband’s programme for government and was incorporated into the Tory welfare bill after he lost the election. Harman decided that the party would abstain on the second reading, call for amendments, and then vote against on the third reading. She intended this to send a signal to the party’s core working-class vote, which felt that Labour was a soft touch on welfare.

The move backfired. The abstention was seized upon by the left in the party to demonstrate that Labour was “pro-austerity” and “Tory-lite”. The leadership contenders in the cabinet had to vote with the whip, while, on the back benches, Jeremy Corbyn was free to oppose the bill at both readings. The decision is often credited with giving him the momentum he needed to win the leadership. (Ironically, Corbyn ordered MPs to vote for triggering Article 50 on its second reading because of a similar political calculation: it was unpopular with Labour members but popular with swing voters.)

Does Harman now regret her decision? “It was jumped on because there was a mood in the party to swing to the left,” she says. If not that issue, she believes that discontent would have crystallised around something else. “A lot of people were disaffected when we were still in government. That had grown, but because we only lost narrowly in 2010, and there was only a coalition, it was masked by people still hoping that we would get in. But once it was evident we weren’t, it was like ‘We told you so’ . . . repressed resentment, anger, disappointment just burst out.”

Ayesha Hazarika believes that there was no right decision: “She felt she was taking a personal hit, but she was trying to show the voters we had listened.” In any case, the mood inside Labour HQ was already bleak. “When Ed Miliband resigned, it was so fast. Ed Balls had lost his seat. We’d lost Scotland. Everyone was in tears in Victoria Street. Harriet said: ‘Go into the bathroom, dry your tears; we’ve got work to do. We’ve got a party to keep together.’ I thought it was harsh but it was so right.” Hazarika ­believes this is why the welfare vote will not cloud Harman’s legacy. “They see her as a trouper, even people who don’t like her.”

Alison McGovern also sees her as someone willing to subsume her ego into a movement. “Harmanism isn’t a thing . . . It’s why she’s been successful, but it’s also why she hasn’t been credited.” Jess Phillips agrees. “Unlike many high-flyers in the Blair government, Harriet has won at politics. With Blair or Brown, their legacies – regardless of the good that they did – are terrible. Look in the Commons and you can physically see the difference made by Harriet.”

Harriet Harman will be in conversation with Jackie Ashley at the Cambridge Literary Festival, in association with the New Statesman, on 22 April 2017.

Helen Lewis is deputy editor of the New Statesman. She has presented BBC Radio 4’s Week in Westminster and is a regular panellist on BBC1’s Sunday Politics.

This article first appeared in the 02 March 2017 issue of the New Statesman, The far right rises again

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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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