A burnt out first floor window shows fire damage in the house where five people died. Photograph: Getty Images
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Letter from Harlow: Reaching for utopia

After the war, Harlow was supposed to offer east Londoners the chance of a fresh start and a stab at the good life. This month, it became the place where a suspicious fire killed six members of a Muslim family.

1.
Very early on the morning of Monday 15 October, residents on the Barn Mead estate in Harlow, Essex, were woken by screams and by the sound of a man in distress. One woman looked through the window and saw that the three bedroom, end-of-terrace house opposite was on fire and a man whom she recognised as Abdul Shakoor, who is 45 and a hospital doctor, was being restrained by neighbours as he struggled to get back inside the burning building where he lived with his wife and their five children. “My children are in there,” he was shouting, “my children.”

By the time emergency support vehicles arrived, the house was filled with thick, acrid smoke and fiercely ablaze. Dr Shakoor’s wife, Sabah Usmani, who was also a doctor, and three of their children were declared dead at the scene; two other children, both severely burned, were pulled from the house alive and taken to the local Princess Alexandra Hospital, where their father worked as an endocrinologist.

Muneeb, who was nine, died later that day; his younger sister, Maheen, at the age of three the baby of the family, was transferred to the burns unit at Broomfield Hospital in Chelmsford, the county town of Essex.

Dr Shakoor, who is suffering from profound trauma and smoke inhalation, was also moved to Broomfield: his wish was to be as close as possible to his daughter as doctors fought to keep her alive. On the evening of Thursday 18 October, it was announced that Maheen, too, had died. The tragedy was complete.

Essex Police have said that the fire, which started in the downstairs lounge, spread quickly and is “being treated as suspicious”, even though no evidence has been found to suggest that an accelerant was used. Shortly after the fire started at the house that Monday morning, a Ford Focus belonging to another local resident was also set alight in the street nearby. “By the time emergency services arrived the fire [at the house] was intense which implies it had been burning for a while,” Chief Inspector Justin Smith said.

“The car wasn’t burnt out, however. We now need to understand the timings, and how long the car had been alight compared to how long the house had been alight – that is a key point.”

There have been previous incidents of arson on the Barn Mead estate and the police are describing it as “more than a coincidence” that both the house and the car should have been set alight around the same time, if not simultaneously, and within close proximity. Were the Shakoors, who were devout Muslims and of Pakistani origin, the victims of a racist attack? Or was the previous occupant of the house, which the Shakoors had been renting for less than a year, the intended victim as has been suggested? (A friend of the Shakoors, a fellow Muslim named Safia Anwar, told me that the family, who for a period lived in Saudi Arabia, had been looking for a suitable property to buy in the town. They were settled in Harlow, their children attended the local Abbotsweld Primary School, and they wanted to stay on, she said.)

2.
I know the Barn Mead area well. My paternal grandfather used to live on the estate in a modest flat that overlooked a comprehensive school. “All day they’re coming in and out, in and out,” he used to complain of the pupils. From the outside, the flat seemed to be very much as it was when I used to visit him, and it’s just a few hundred yards from where the Shakoors lived. Close to the house they rented, on some local fields, are three recreational football pitches where I sometimes used to play on Sunday mornings as a young boy.

My grandfather moved to Harlow from Forest Gate, on the edges of Epping Forest, a strange, shadowy nowhere zone where the East End thins out and merges into Essex. He was retired, his wife had died, and he was suffering from tinnitus and wanted to be closer to his only child, my father, who, like so many aspirational east Londoners, had moved as a young man to the Essex new town, where land was plentiful and new family houses were abundant and available for rent or purchase. My grandfather stayed on in Harlow long after we left the town in the early Eighties.

Many of those who came to live in Harlow in the years after the war were in one way or another in flight from history – from the inner city, from the cramped Victorian terraced streets of their childhoods, from the bomb sites and ruined buildings – and Harlow offered them a new start, a new life in a centrally planned, socially engineered, semi-rural environment. One of the consequences of growing up in a new town as I did – always so much emphasis on novelty, on newness, on the here and now – was that you felt part of a kind of utopian social-democratic experiment. The state was providing for you and those around you, nearly all of whom were of similar background. It was as if the state had a vision of what the postwar good life should be and somewhere we all fitted into it.

“The town attracted progressives, community-minded people,” Ron Bill, a local historian and Labour Party activist, told me over tea and biscuits when I visited him at home in Harlow this past week. “Frederick Gibberd [the consultant architect planner for the Harlow development] was an example of such a person. That first wave of people who came to the town in the Fifties and Sixties – many of them socialists and communists – they wanted to build something. The trouble is there wasn’t a second wave equal to the first. And their children moved away, as children do.”

Harlow doesn’t, today, feel like the optimistic town it did when I was growing up there in the Seventies, when it had such an excellent infrastructure of new houses, roads, cycle tracks, playing fields and children’s play schemes. Back then, it had an Olympic-sized swimming pool (since closed and demolished), an exceptionally well-regarded multipurpose sports centre (since sold, flattened and replaced with houses), a dry-ski slope (long gone), a skating rink (now abandoned), a velodrome (gone) and an expansive, landscaped town park through which a river flowed (now sadly neglected).

The Labour Party was powerful in the town and for many years controlled the council. The local playhouse was ambitious and sophisticated in the choice of films and plays it chose to show and put on. The large central library was superbly stocked with books and magazines, and it was there that I used to read the New Statesman and the Spectator.

It was a provincial boyhood and I yearned for greater adventure and excitement, but in retrospect – and it took me a long time to understand and accept this – I was fortunate to have lived in Harlow when I did. It offered me everything I needed, apart perhaps from a rigorous academic education; there was no local grammar school and by the mid-to-late Seventies most of the town’s eight comprehensive schools were, in ambition and attainment, becoming more like what Andrew Adonis now calls “secondary modern comprehensives”.

“Yes, some of the failures of Harlow are to do with the schools,” Ron Bill told me. “The larger problem was that the original New Towns Act of 1946 stipulated that the new town could keep its assets – from the industrial estate and the commercial side of the town centre – but this was reversed and the assets of the town went to private business and the Treasury.

“The whole aim of the new town was to give people a better life, to build family homes surrounded by green spaces. We wanted to satisfy the demands and aspirations of people – for a town swimming pool, say, or for a meals-on wheels service. But the swimming pool failed because it wasn’t being maintained properly. The sports centre was sold. There wasn’t the money to mend the ski slope. The rose beds in the town park . . . there wasn’t the funds for maintenance.

“If the industrial estate had funded the town it could have been different. But it was still lovely to be in Harlow; the corporation and council achieved a great deal. I suppose we tried for utopia but didn’t quite reach it.”

When I lived in Harlow, it felt resolutely mono-ethnic and socially narrow; there were no black boys in my year at school, and very few of Hong Kong Chinese or Indian or Pakistani origin. There were, however, several boys at the school who became members of the Inter City Firm, or ICF, the feared, ruthless and racist firm of hardcore West Ham hooligans. The National Front were active and were recruiting in the town for a while, and Ron recalls marching against them. Ultimately they were repulsed.

3.
When I spoke last week to Safia Anwar, who lives close to Barn Mead on the Woodcroft estate in Harlow, about her friends the Shakoors, she said they had been brought together by their children and shared Muslim faith. Like Sabah Usmani, Safia wears the hijab. “I saw the family every day – every day – because our children were at the same school,” she told me, in hesitant English. “They were good people and they had no trouble since they came to the town. They never spoke about any problems. We ourselves have had no problem with racism. Perhaps a little bit at the school, some of the children say things to my children . . . but this [the fire] cannot be racism.”

She paused and looked at me sadly. “My children have been asking about their friends – when are they coming back? They think the children will be back when they are better. They don’t imagine what is death.”

Woodcroft, Willowfield, Old Orchard, Five Acres: the names of what were once council or corporation estates surrounding Barn Mead are redolent of a pastoral idyll, or at least of the rural lands that were obliterated when the new town came. The actual estates, transformed by Margaret Thatcher’s right-to-buy scheme, are perhaps shabbier than I remember and many of the houses need painting and care, but the streets are clean and when I visited council workers in yellow jackets were out sweeping the roads and collecting litter. In Barn Mead a mobile police station had been set up adjacent to the Shakoors’ fire-blackened house and search officers from across the county were fastidiously going about their business, knocking on doors, looking in bins and black rubbish sacks.

“We knew from day one that this could be a lengthy investigation and at this point there are no definitive answers or explanations,” said Chief Inspector Smith. “However, we are putting a huge amount of resources into this investigation. Never in my 24 years of service have we seen this level of resources – it is unprecedented.”

4.
A house fire and suspicions of a racist attack on the estate where my grandfather once lived were what brought me back to Harlow and all the memories it stirs, back to Ron Bill’s nearlyutopia. The morning of my return I parked my car outside my grandfather’s old flat and walked around streets that, even after all these years of absence, seemed so familiar. The school he used to complain about has since been renamed and relocated, and its former classrooms and offices are desolate, fenced in and boarded up. (The school was recently featured in the Channel 4 reality series Educating Essex, the title suggesting that this large and diverse county, stretching from the rural Suffolk borderlands that Constable painted to the edges of London’s East End, is a monoculture.) The local pub, the Archers Dart at Coppice Hatch, where my grandfather bought an occasional pint, was semi-derelict, its doors and windows also boarded up. These unused buildings together with the presence of so many police on the streets gave Barn Mead the feel of an estate under siege.

5.
I eventually left later that morning, feeling pretty despondent and desperately hoping that little Maheen would pull through. The next evening, I heard that she had not.

The funerals of Dr Usmani and her five children were held on Wednesday 24 October at the Harlow Islamic Centre, by which time Essex Police were no closer to solving the mystery of the house fire.

“My children,” Safia Anwar had said, “have been asking about their friends – when are they coming back? They think the children will be back when they are better. They don’t imagine what is death.”

Jason Cowley is editor of the New Statesman. He has been the editor of Granta, a senior editor at the Observer and a staff writer at the Times.

This article first appeared in the 29 October 2012 issue of the New Statesman, Something Rotten

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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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