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The dying of the middle-class dream

Millions of households have suffered a fall in living standards in these past few years. So when the politicians are seen to collude in what feels like a rip-off . . .

All of British politics since the end of the Second World War has been underpinned by a double promise. The first element is collective – every generation will live better than the one before it. The second component is individual – any citizen’s hard work will be rewarded with wealth and higher social status.

In the US, the equivalent offer is explicit in the idea of an “American dream”. In Britain, we are more reticent about expressing the belief that self-advancement should be a fundamental right and more pessimistic about whether it extends to us. That doesn’t mean the idea lacks currency, nor does it diminish the feeling of betrayal when the contract is broken.

It is breaking before our eyes. The financial crisis did not only disrupt the longest run of economic growth in living memory; it upset assumptions about who the economy was designed to serve. The perception that a super-wealthy elite was both responsible for the crash and insulated from its consequences is profoundly demoralising. It mocks the ambition of those who feel they are working harder than ever for diminishing returns.

For millions of British households the experience of the past few years has been creeping impoverishment. Wages have been frozen or have risen too slowly to keep up with the cost of living. According to data from the Office for National Statistics, the average weekly pay packet has fallen by about 8 per cent in real terms since the start of 2008 – the peak of the boom. In the same period, while GDP per head has contracted by 7 per cent, net national income per head has fallen by 13.2 per cent.

According to a recent study by researchers at Loughborough University, the cost of a basket of essential goods and services – including food, fuel and public transport – has risen by 43 per cent in the past decade. The average domestic energy bill has roughly doubled in real terms over the same period. For many, those pressures have cancelled out material gains accrued since the turn of the century. Necessary components of family life – childcare, running a car – have become punishingly expensive for anyone living on or below the median household income, currently about £26,500 per year.

Then there is the slow burn of Britain’s housing crisis. Surveys of mortgage lenders show the average age of a first-time buyer is now 35, up from 28 in the 2000s and 24 in the 1960s. The only reason hundreds of thousands of people who already own their property are able to stay in it is that interest rates are below the long-term trend. A sudden rise could tip them into arrears. Rents are inflating in the private sector, much of which is a wild west of cowboy landlords charging extortionate rates for hovels. As for social housing, in densely populated parts, anyone not destitute enough to qualify for emergency short-term accommodation can expect to sit on a waiting list for up to ten years.

Unemployment has not soared as much as many feared in the recession, but the official numbers are buoyed by increases in part-time work and by people declaring themselves self-employed, categories that conceal meagre incomes. Roughly 1.4 million people are forced to work fewer hours than they would like. There are still about 2.5 million people jobless. Youth unemployment is hovering just below the one million mark. A mass of research shows that future earnings and self-esteem will be dented irreversibly for those young people passing their formative years in a hopeless drift.

A YouGov survey conducted last month asked voters how worried they were that “people like you will not have enough money to live comfortably” over the next two to three years. Seventy-one per cent were fairly or very worried; 28 per cent were not worried. When asked about the fear of losing their job or finding work 64 per cent said they were worried and 32 per cent were not. Those proportions were broadly the same across social categories, political allegiance, age and region.

The fall in British prosperity and optimism is not just a function of the financial crisis and recession; nor will it necessarily be reversed as economic growth returns. Wages for those in the bottom half of the income scale have been stagnant since 2003. Research by the Resolution Foundation, the leading think tank looking at trends in living standards, has found that disposable incomes for low earners fell in every region of England outside London during the period 2003-2008 – the frothiest part of the boom, when the British economy as a whole expanded by 11 per cent.

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Even in the good times, people were not as well off as they thought they were – or felt entitled to be. The state compensated for some of the shortfall with tax credits. Those are now being cut. Individuals also topped up their wages with credit cards and other private debts. That habit persists. A study by the consumer group Which? found that, this past September alone, 800,000 households took out emergency “payday loans”, often carrying extortionate interest rates. Last year, Wonga.com, a leading provider of such loans, more than trebled its profits on the previous year, up from £12.4m to £45.8m.

According to the Resolution Foundation’s analysis, even when heroic assumptions are made about a prompt bounce back to growth and rising employment, the benefits will accrue to those who, by any objective measure, are already rich. “There is a complacent view that a return to growth will be enough. That is unlikely to be the case,” says Gavin Kelly, the foundation’s director. “We know from recent history in the UK, and far longer experiences in other mature economies, that it is perfectly possible for steady growth to coincide with an era of stagnant living standards.”

This opens a new chapter in British politics. For the first time, swaths of middle-class voters, who for generations were given to understand that the system was fashioned for their benefit, feel it is rigged against them. In such a climate, the conventional messages – the appeal to aspiration and the promise to reward enterprise – ring hollow. Yet the current generation of party leaders doesn’t know any other kind of middle-class politics.

The American experience is instructive, although never wholly analogous. The US middle class has followed the same pattern of stagnant wages, shrinking opportunity and squeezed living standards but for even longer. The “Death of the Great American Middle Class” is a well-established trope in the US media, debated in newspaper op-ed pages and dissected by political scientists.

A new book by James Carville and Stan Green­berg, two veterans of Bill Clinton’s presidential campaigns, charts the phenomenon in depth. It’s the Middle Class, Stupid! argues that the mechanisms for delivering the American dream to the average citizen – access to quality education, affordable housing, jobs that pay decent wages – have broken down.

“There’s a presumption that you will do better and better, have more disposable income and more savings, and you’ll have a decent retirement, that your kids will get a college education and be able to do better than you,” says Greenberg. “If you look at the period 1945-80, that’s what happened in America. We now know, looking back from 1980 onwards, that it largely stopped – the story is now a myth.”

I met Greenberg, a pollster and strategist who is currently advising the Labour Party, on a recent trip of his to London. We sat in a central London coffee shop discussing the parallels between the American and British predicaments. One vital distinction, he observes, is that the “middle class” in the United States is a much broader category. Those who aspire to the status automatically expect to acquire it and so pre-emptively identify themselves with it. “In the US, working-class people who are clearly not middle class by the standards we’re talking about here [in Britain] consider themselves middle class, and they do so because they believe they will have rising incomes.”

When that expectation is disappointed the result is rage. It shows itself in the banners held aloft at this year’s Democratic National Convention saying “Middle Class First” (a slogan that would invite satirical sneers about easier access to organic vegetables in the UK). It is also a force driving the rise of the radical conservative Tea Party movement. Although the Republican fringe is better known in Britain for its Christian fundamentalism, it channels a sense of betrayal at the hollowing out of the American dream – the feeling that the Washington and Wall Street elite have stolen the country from the people.

As Greenberg sees it, the common belief is that America is “hard-wired” to furnish opportunity, so if it doesn’t happen, some conspiracy is to blame. “So we end up with a morality tale – who are the bad guys that are blocking the natural forces? It’s class conflict in the context of an assumption that we just need to take away the distortions that rig the rules.”

The suspicion that government is a malign influence is then inflamed by ultra-conservative media, weaving in reactionary religious fear that liberal policy degrades the moral fibre of the nation. Greenberg’s analysis is supported by Jacob S Hacker, a professor of political science at Yale University and an important intellectual influence among those in Ed Miliband’s inner circle. “The hallmark of contemporary public attitudes,” Hacker wrote in a recent paper, “is not public conservatism but public cynicism and distrust, fuelled by the economic trend of the last generation and a sense that government is out of touch.”

That, he argues, poses a particular challenge to politicians of the left, who must decontaminate state intervention of any kind before voters can trust them again to address structural imbalances and entrenched injustices in the economy. “To rebuild the middle class requires rebuilding a sense that government can make a positive difference.”

Thus, in the US at least, the mainstream politics of class resentment, historically imagined to be a resource of the left, has been appropriated by the anti-government right. A significant observation in It’s the Middle Class, Stupid! is that the raw evidence from opinion polls shows Democratic candidates do surprisingly well when they become unapologetic in demanding that wealth be shared more equitably. Yet they are often intimidated out of pressing the point home by a received wisdom – and a well-mobilised conservative commentariat – which says that such messages are divisive, signal a drift away from the centre, represent “class war” and alienate independent voters with a whiff of socialism.

A similar dynamic operates in Britain, though much moderated because we are less hysterical about the spectre of reds under the bed. The charge of sowing interclass strife is central to Tory rebuttals of Ed Miliband’s attempt, laid out in his speech to this year’s Labour conference in Manchester, to position himself as the leader of a “one-nation” party. Conservatives leapt on Miliband’s scorn for David Cameron’s quasi-aristocratic background, Eton education and cabinet staffed with millionaires as evidence that the call for national unity disguised a return to embittered socialism. Cameron addressed the point directly in his own autumn conference speech. “We don’t preach about one nation but practise class war,” he said. “We just get behind people who want to get on in life.” In parliamentary debate, Cameron routinely uses “left-wing” as a term of derision and a byword for unelectable incomprehension of mainstream British sensibilities.

Downing Street is under no illusions that politics for the foreseeable future will be shaped by the feeling in many households that the ground is giving way beneath their feet. Senior Tories also know that they will not long get away with blaming the nation’s misfortune on the legacy of the last government. “Answering the question ‘What are you going to do about this?’ will be the dominant theme in politics for the next 30 years,” says a No 10 strategist.

Cameron’s strategy for re-election rests on the hope of reviving his party’s appeal to those lower-middle-class and working-class voters who once flocked to Margaret Thatcher’s banner. They are often identified in the Conservative lexicon as the “strivers” – driven by the will to work their way up and deeply resentful of those perceived to be gaming the system, especially through “unearned” welfare payments.

The historically emblematic policy for winning the support of these voters was the “right to buy” council houses, which held out a mass invitation of enhanced status and asset wealth through property ownership. It is far from obvious what an equivalent offer today would look like. Besides, Thatcher, the daughter of a greengrocer, was intrinsically plausible as a champion of that target demographic. David Cameron is not.

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One Conservative who is sensitive to the needs of the “strivers” is Robert Halfon, the respected MP for Harlow in Essex. It is a bellwether seat, taken from Labour in the Thatcher landslide of 1983, reclaimed in the Blair stampede of 1997 and then surrendered again in 2010. Halfon has made a name for himself in parliament campaigning vigorously and with some success against rises in petrol duties, which, he says, are pummelling what he calls the “white van” voter. “The next election will be about the cost of living,” he tells me. “People in my constituency are getting up at 5am to drive to work. They are holding down two jobs. People are suffering but they still want to get on.”

Halfon doesn’t believe that the British middle class is responsive to political attacks based on the Prime Minister’s privileged family history, arguing that they see in these stories a sneer of envy. But he recognises that the Tories in general are in danger of looking as if they stand up for the wrong people. “Not one person on the doorstep has ever commented on Cameron’s background or [his education at] Eton,” Halfon says. “What people do care about, what is a large problem for us, is that we are seen as a party of the rich. Even people who agree with us and are inclined to vote for us are hesitant about it because they wonder if we are governing for the benefit of our rich friends.”

The distinction is vital. It is unreasonable to blame Cameron for the circumstances of his birth; it is fair to challenge him over the choices he makes in power. Labour has been stung in the past trying to depict Tories as cartoon toffs. In the 2008 by-election in Crewe and Nantwich, the Conservative candidate, Edward Timpson, a Cheshire barrister from a wealthy family, was trailed by Labour activists wearing “Lord Snooty” top hats and tails. The stunt backfired when the background of the Labour candidate, Tamsin Dunwoody, was shown to be no more proletarian. The seat was lost.

Since then the climate has changed. The imposition of painful economic policy has coincided with the appearance of a prime minister who is obviously unfamiliar with toil. Even many Tories admit to irritation with their leader’s haughty manner and encirclement by a gilded clique.

Stan Greenberg, who has a detailed knowledge of opinion-poll trends, believes the Prime Minister’s personal brand has been compromised by the impression that he moves in rarefied circles, is distant from the concerns of ordinary people and fails to put their interests first. The turning point was the phone-hacking scandal, which exposed Cameron’s seamless social integration with executives from Rupert Murdoch’s News Corp in a kind of rolling beau monde Cotswolds garden party.

“His identity is so fuelled by who he was hanging out with during that crisis – the horseback riding [with the News International executive Rebekah Brooks], the whole set of associations, Murdoch’s back-door entry to No 10. It resonated,” Greenberg says. “He’s part of the horsey set. He’s seen to be a typical Conservative who makes choices on policy, including cutting taxes for wealthy people, while also doing a granny tax. Combine that with who he was hanging out with, and things have come together in a way that is pretty indelible.”

The resignation last month of the Conservative chief whip Andrew Mitchell over allegations that he told police officers to “know their place” and called them “plebs” can hardly help redeem the party’s snobbish image. Downing Street claims the episode has caused much more of a stir in Westminster than anywhere else – that it has not “cut through” to a wider audience. It is hard to find an MP from any party who believes that.

While Cameron might struggle to reassure anxious voters that he is on their side, it is not obvious that Ed Miliband will be embraced as their more authentic champion. The opposition leader’s background is rarefied, too, only in a different way. He may have gone to the local comprehensive but his cultural schooling and political apprenticeship, in the north London intelligentsia and as a young adviser to Gordon Brown, respectively, do not resemble anything like the experience of the voters he wants to woo. For most people who take little interest in what happens at Westminster, he is another well-spoken, Oxford-educated politician who has never struggled to pay the rent.

To his credit, Miliband was the first party leader to identify what he characterised as the struggles of the “squeezed middle” – the long-term, downward pressure on living standards for people on or below average incomes. He has spoken about restoring what he calls “the promise of Britain”, a deliberate emulation of “the American dream”. The phrase has not caught on.

The focus on US trends is still the right one. It isn’t just the way real incomes have fallen while growth has risen. The UK is following an American labour-market pattern in which the kinds of jobs that pay well enough to sustain a high standard of living are becoming rarer – even as overall unemployment is falling. It has been called the “hourglass effect”. In other words, there is pool of poorly paid, low-skilled jobs at the bottom, a bulge of well-paid, high-end jobs at the top and a dwindling number of semi-skilled, white-collar, clerical or managerial posts in the middle. Those are the jobs that underpin mass participation in the middle class, as a lifestyle and an identity.

In another recent book charting the decline of the US middle class, Time to Start Thinking: America in the Age of Descent, the author, the Financial Times journalist Edward Luce, quotes Lawrence Katz of Harvard University, one of America’s leading labour economists, on the social consequences of polarisation between luxuriant and servile wages: “We are on track to becoming a country where the top tier remains wealthy beyond imagination, and the remainder, in one way or another, are working in jobs that help make the lives of the elites more comfortable . . . They will be taking care of them in old age, fixing their home wifi, or their air-conditioning, teaching or helping with their kids and serving them their food.”

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It is conceivable that Britain will end up in a similar place. Politics in the aftermath of the financial crisis is unlike the recovery phase from previous recessions. In the past it was easy to imagine that the country was experiencing a period of temporary turbulence. Politicians just needed to advertise their credentials to navigate through it. This time is different for two reasons. First, restoring growth alone does not solve the structural flaws that disconnect the middle class from realistic attainment of its members’ ambitions. Second, the very capacity of politics to provide solutions is in question. None of the present generation of party leaders has any experience of governing at a time when the entire economic system is perceived to be a con. They all hail from a political elite that is seen as having devised the scam or, at best, colluded in it.

Hacker has identified a paradox that applies as well to the British challenge as the American one: “Progressive reform will require using a broken political system to fix a broken political system,” he writes. “The main obstacle to change and the main vehicle for change are one and the same.”

For generations, much of the British electorate has not been highly politicised. Suspicion of ideology and wariness of campaigning exuberance are features of genteel, middle-class identity. The most successful election candidates in recent decades have been those who persuaded middle-class voters – or those who aspire to be middle class – that backing their party is the predictable, respectable thing to do. Both Margaret Thatcher and Tony Blair achieved a cultural monopoly over the non-political mainstream. They made voting for the opposition look somehow more conspicuously opinionated, a tilt towards the fringe, and therefore socially almost eccentric.

There is no candidate in British politics who can pull off that trick today. The financial crisis has ended the idea that the pursuit of a comfortable family life – “normal”, middle-class aspiration – can be automatic and politically neutral, as if decoupled from ideological choice. Already too much of a struggle for that to be the case, it is likely to become more of one and, by extension, increasingly politicised.

But how, and by whom? Not in recent memory have we seen politics in this country with a middle class radicalised by the brazen theft of its future. We may be about to find out what that looks like.

Rafael Behr is political columnist at the Guardian and former political editor of the New Statesman

This article first appeared in the 05 November 2012 issue of the New Statesman, What if Romney wins?

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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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