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The closing of the liberal mind

The folly of the masses has replaced the wisdom of crowds as the dominant theme of our politics.

All that seemed solid in liberalism is melting into air. In Europe the EU struggled for over seven years to reach a trade deal with Canada, one of the most “European” countries in the world; at the same time, banking crises are festering in Italy and Germany and the continuing migrant crisis continues to strengthen far-right parties. In Britain Jeremy Corbyn’s strengthened hold over Labour following an ill-considered attempt to unseat him has reinforced a transformation in the party that reaches well beyond his position as leader. At a global level, Vladimir Putin is redrawing the geopolitical map with his escalating intervention in Syria, while the chief threat to the repressive regime Xi Jinping is building in China appears to be a neo-Maoist movement that harks back to one of the worst tyrannies in history. A liberal order that seemed to be spreading across the globe after the end of the Cold War is fading from memory.

Faced with this shift, liberal opinion-formers have oscillated between insistent denial and apocalyptic foreboding. Though the EU is barely capable of any action, raddled remnants of the old regime – Ed Miliband, Clegg, Mandelson, “the master” himself – have surfaced to demand that Brexit be fudged and, in effect, reversed. Even as the US election hangs in the balance, many are clinging to the belief that a liberal status quo can be restored. But Trump’s presidential campaign has already demolished a bipartisan consensus on free trade, and if he wins, a party system to which his Republican opponents and Hillary Clinton both belonged will be history. Dreading this outcome and suspecting it may yet come to pass, liberals rail against voters who reject their enlightened leadership. Suddenly, the folly of the masses has replaced the wisdom of crowds as the dominant theme in polite discourse. Few ask what in the ruling liberalism could produce such a debacle.

The liberal pageant is fading, yet liberals find it hard to get by without believing they are on what they like to think is the right side of history. The trouble is that they can only envision the future as a continuation of the recent past. This is so whether their liberalism comes from the right or the left. Whether they are George Osborne’s City-based “liberal mainstream”, or Thatcherite think tanks, baffled and seething because Brexit hasn’t taken us closer to a free-market utopia, or egalitarian social democrats who favour redistribution or “predistribution”, an entire generation is finding its view of the world melting away under the impact of events.

Today’s liberals differ widely about how the wealth and opportunities of a market economy should be shared. What none of them question is the type of market globalisation that has developed over the past three decades. Writing in Tribune in 1943 after reviewing a batch of “progressive” books, George Orwell observed: “I was struck by the automatic way in which people go on repeating certain phrases that were fashionable before 1914. Two great favourites are ‘the abolition of distance’ and ‘the disappearance of frontiers’.” More than 70 years later, the same empty formulae are again being repeated. At present, the liberal mind can function only to the extent that it shuts out reality.

It is not surprising that there is talk of ­entering a post-liberal moment. The idea has the merit of grasping that the liberal retreat is not a revolt of the ignorant masses against enlightened elites; it is mostly the result of the follies of liberals themselves. But the revulsion against liberalism is not all of one piece. There is a world of difference between the May government inching its way towards a more intelligent way of ­living with globalisation and Trump’s dream of globalisation in one country. The creeping advance of anti-liberal forces across the European continent is something else again.

Accepting that this is a post-liberal moment does not imply that we should give up on values of freedom and toleration. Quite the contrary: the task at hand is securing the survival of a liberal way of life. But the greatest obstacle to that end, larger even than the hostility of avowed enemies of liberalism, is a liberal ideology that sees state power as the chief threat to freedom. Liberal societies have a future only if the Hobbesian protective role of the state is firmly reasserted. Balancing the claims of liberty against those of security will never be easy. There are many conflicting freedoms, among which political choices must be made. Without security, however, freedom itself is soon lost.

 

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Nothing illustrates the decay of liberalism more vividly than the metamorphosis of the Labour Party. There has been a tendency to interpret Corbyn’s rise as a reversion to the Trotskyite entryism of the early 1980s. Some in the party – possibly including the shadow chancellor, John McDonnell – may see their role in terms of converting Labour to some type of neo-Marxism. That does not explain why so many of Labour’s new members seem to want to bury the party in the form in which it has existed throughout its history.

Something like a blueprint for the shift of power in the party was set out in Ralph Miliband’s Parliamentary Socialism, first published in 1961. Miliband’s attack on the Parliamentary Labour Party (PLP) anticipated the Corbynite strategy with uncanny prescience. Cautioning his comrades on the left who wanted to use Labour as a vehicle for socialism, Miliband wrote in a 1972 postscript to the book:

 

The kind of political changes at the top which a good many socialists hope to see one day brought about in the Labour Party, and which would signify a major ideological shift to the left, would presumably, given the nature of the political system, have to be engineered from within the ranks of the Parliamentary Labour Party. But to say this is surely also to indicate how unrealistic that hope is. It is unrealistic because it ignores the perennial weakness of the parliamentary left. That weakness is not accidental but structural . . . There have been some exceptions: a few Labour MPs have, so to speak, slipped through the net. But they have remained isolated and often pathetic figures, bitterly at odds not only with their leaders but with that large and permanent majority of the Parliamentary Labour Party which entirely shares its leader’s orthodox modes of thought.

 

Ralph Miliband condemned the PLP as an obstacle to fundamental change and looked to a mass movement outside Labour’s core structures. But history has proved more fertile than his imagination. In a strangely poetic turn of events, an anti-parliamentary party of a kind he believed Labour could never become was brought into being, more than 40 years later, when, by changing the membership rules, Ed Miliband created a historic opening for one of
its most isolated and insignificant figures. Promoted by moderates as a modernising move, on a par with Tony Blair’s revision of Clause Four, this accidental reform has altered Labour structurally and irreversibly. Corbyn’s rise to power could not have occurred if the party’s moderates had not been so devoid of new thinking. They realised that Ed Miliband’s social-democratic moment had failed to arrive and knew that Labour faced an uphill task in becoming electable again. But all they had to offer were empty slogans that reeked of the past. As a result, Labour has become unelectable in any foreseeable future.

Anyone who imagines the party’s electoral fortunes could be revived by a new leader – a charismatic figure from across the water, perhaps – has not taken the measure of the change that has taken place. Although parts of Labour remain outside Corbyn’s control, including much of local government – most importantly, Sadiq Khan’s London – the chief power base of any future leader of the party will be the mass movement that Corbyn has built. Realigning Labour with the electorate can only be done against the opposition of most of the party membership. In these conditions a campaign of the sort Neil Kinnock waged against Militant is no longer feasible. Internecine warfare will continue and may intensify, but Labour’s moderate tendency has no chance of regaining control.

In one sense, Corbyn’s Labour is the practical realisation of Ralph Miliband’s dream. Yet it is not a party Miliband would recognise easily. Labour has become not a retro-Trotskyite sect, but a contemporary expression of formless discontent. Trotsky was a vain and pitiless figure, who crushed a workers’ rising in Kronstadt in 1921 and rejected criticism of the practice of hostage-taking that he implemented during the Russian Civil War as “Quaker-vegetarian chatter”. But, even at his worst, Trotsky could not have proposed anything as inane and intrinsically absurd as retaining Trident submarine patrols while removing the missiles’ nuclear warheads, as Corbyn did in January.

The party Corbyn has created is not easily defined. Aside from the anti-Semitism that is a strand of its make-up, it has no coherent ideology. The legacy of Marxism is notable for its absence. There is no analysis of changing class structures or any systematic critique of the present condition of capitalism. Such policies as have been floated have been plucked from a blue sky, without any attempt to connect them with earthbound facts. The consensus-seeking values of core Labour voters are dismissed as symptoms of backwardness. As for the concerns about job security and immigration that produced large majorities in favour of Brexit in what used to be safe Labour areas, the Corbynite view seems to be that these are retrograde attitudes that only show how badly working people need re-education.

Corbyn’s refusal to specify any upper limit to immigration at the last party conference in Liverpool illustrated his detachment from electoral realities. But far from being a debilitating weakness – as it would be if Labour were still a conventional political party – this rejection of realistic thinking is the principal source of his strength in the new kind of party he has created. From being a broad-based institution that defended the interests of working people, Labour has morphed into a vehicle for an alienated fringe of the middle class that finds psychological comfort in belonging in an anti-capitalist protest movement. While a dwindling rump of trade union barons continues to act as power-broker, Labour’s northern fortresses are crumbling.

The defining feature of Corbynite Labour is not an anachronistic utopian socialism, but a very modern kind of liberal narcissism. Looking two or three general elections ahead, the party could well reach a membership of over a million even as it struggled to elect a hundred MPs. The party’s role would then be one of permanent opposition, without the privileges that go with being an alternative government.

 

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The claim that what has emerged from Corbyn’s takeover of the Labour Party is an inchoate and extreme type of liberalism may seem perverse. He and his followers never cease to inveigh against neoliberal economics – a blanket term that seems to include every market economy in the world – even as they show a consistent bias in favour of tyrannies in their protests against military action, their anti-war campaigns focusing solely as they do on the policies of Western governments. It might seem that Labour under Corbyn has abandoned liberal values altogether, and there are some who talk of a new left-fascism.

Yet this is too easy an analysis of the change that has taken place. Corbyn’s Labour is no more crypto-fascist than it is Trotskyite. In some respects – such as his support for unlimited freedom of movement for people – it embodies a hyperbolic version of the liberalism of the most recent generation. In others, it expresses what liberalism has now become. There have always been many liberalisms, but the mutation in liberal thinking over the past few decades has been deep and radical. From being a philosophy that aimed to give a theoretical rationale to a way of life based on the practice of toleration, it has become a mindset that defines itself by enmity to that way of life.

Corbyn’s “inclusive” attitude towards Hamas, Hezbollah and the IRA fits in with a left-liberal world-view that supports ­anti-colonial struggles in a general embrace of identity politics. Fashionable nonsense about cultural appropriation may not matter much, as it has been largely confined to increasingly marginal universities. However, it expresses what has come to be seen as a liberal principle: the right of everyone to assert what they take to be their identity – particularly if it can be represented as that of an oppressed minority – by whatever means are judged necessary. If free speech stands in the way, the practice must be discarded. It terrorism is required, so be it. This represents a fundamental shift in liberal thinking.

The overriding importance given to rights – a selective reading of them, at any rate – is one of the marks of the new liberalism. In one form or another, doctrines of human rights have been around for centuries, and a conception of universal rights was embodied in the UN Declaration of 1948. But rights became central and primary in liberal thought only in the 1970s with the rise of the legalist philosophies of John Rawls and Ronald Dworkin, which held that freedom can be codified into a fixed system of interlocking liberties that can be interpreted by judges. On the libertarian right, Friedrich Hayek proposed something similar with his constitutional proposals for limiting democracy.

Protecting liberty is not just a matter of curbing government, however. Rolling back the state in the economy and society can have the effect of leaving people less free – a fact that was recognised by liberal thinkers of an earlier generation. Maynard Keynes understood that free trade allowed consumers a wide range of choices. He also understood that freedom of choice is devalued when livelihoods face being rapidly destroyed on a large scale, and partly for that reason he refused to treat free trade as a sacrosanct dogma. He never imagined freedom could be reduced to a list of rights.

The move to rights-based liberalism has had damaging effects in many areas of policy. A militant ideology of human rights played a part in some of the worst foreign policy disasters of recent times. The ruinous military adventures of the Blair-Cameron era did not fail because there was not enough post-invasion planning. They failed, first, because in overthrowing the despotisms of Saddam Hussein and Muammar al-Gaddafi they destroyed the state in both Iraq and Libya, leaving zones of anarchy in which jihadist forces could operate freely. More fundamentally, they failed because human rights cannot be imposed on societies that have never known them and where most people may not want them.

Any suggestion that liberal values are not humanly universal will provoke spasms of righteous indignation. Liberals cannot help believing that all human beings secretly yearn to become as they imagine themselves to be. But this is faith, not fact. The belief that liberal values are universally revered is not founded in empirical observation. They are far from secure even in parts of continental Europe where they were seen as unshakeable only a few years ago. In much of the world they are barely recognised.

That liberal values belong in a particular way of life was the central theme of the ­essays collected in my book Post-Liberalism (1993). Modern liberalism is a late growth from Jewish and Christian monotheism. It is from these religious traditions – more than anything in Greek philosophy – that liberal values of toleration and freedom have sprung. If these values were held to be universal, it was because they were believed to be ordained by God. Most liberals nowadays are secular in outlook, yet they continue to believe that their values are humanly universal.

It has never been clear why this should be so. A common response conjures up ­Enlightenment values against the demon of relativism, somehow forgetting that modern relativism emerged from the Enlightenment. Others invoke cod-theories in social science which claim that only liberal societies can be modern. Francis Fukuyama’s thesis is the best known, but they all assert that globalisation is producing a worldwide middle class that is demanding political freedom, as the European bourgeoisie is supposed to have done in the 19th and 20th centuries.

In fact, the European middle classes threw in their lot with authoritarian regimes as often as they supported freedom and democracy, and the same is true at a global level today. Much of the middle class in Russia appears wedded to a combination of consumerism and nationalism, and in China most seem to want nothing more than rising living standards and freedom in their private lives. In the United States, on the other hand, unchecked globalisation is destroying the middle classes.

If the liberalism that has prevailed over the past generation was a falsifiable theory it would long since have been abandoned. There is no detectable connection between advancing globalisation and the spread of liberal values. Liberals resist this because it empties their lives of significance. For them, liberalism is a surrogate religion, providing the sustaining illusion that their values express the meaning of history.

These may seem arguments far removed from everyday politics, but they have important practical implications. Liberal societies cannot depend on history for their survival. They need to defend themselves, and here the cult of rights needs deflating. Human rights may have value as symbolic barriers against the worst evils, such as genocide, slavery and torture. Where they are not backed by state power, however, ­human rights mean nothing: less than nothing, in fact, if they encourage people to believe they will be protected when (as in Srebrenica and now in Aleppo) the power to protect them is lacking. Human rights cannot serve as a template for world order. When they are used to promote evangelical military campaigns they endanger the way of life they were meant to protect.

 

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Popular revulsion against established elites has produced some curious responses. There is constant talk about reason being junked in an emotional rejection of experts, as was supposed to have happened in this year’s EU referendum campaign. Yet the record hardly justifies any strong claims on behalf of those who claim special insight into economics or politics. Much of what has passed for expert knowledge consists of speculative or discredited theories, such as the sub-Keynesian ideas that support quantitative easing as a permanent regime and the notion that globalisation benefits everybody in the long run. When rattled liberals talk of the triumph of emotion over reason, what they mean is that voters are ignoring the intellectual detritus that has guided their leaders and are responding instead to facts and their own experiences.

What British voters are not doing is repudiating the society in which they live. For some critics of liberalism, what is needed is a rejection of individualism in economics and culture. This is the message of John Milbank and Adrian Pabst in The Politics of Virtue (reviewed by Rowan Williams in this paper on 14 October). The book promotes a neo-medievalist vision of organic community that would be familiar to Hilaire Belloc and G K Chesterton, whom Milbank and Pabst cite approvingly. Post-liberalism of this kind is, in my view, a dead end in politics. Most people in Britain do not want to live in organic communities. They are not nostalgic for an imaginary past, and show little fondness for the claustrophobic intimacy of unchanging, homogeneous neighbourhoods. They want what Thomas Hobbes called commodious living – in other words, the amenities of modern economy – without the chronic insecurity that is produced by unfettered market forces. Rather than rejecting market individualism, they are demanding that it be constrained. They would like to inhabit a common culture but are happy for it to contain diverse beliefs and lifestyles.

A post-liberal society is one in which freedom and toleration are protected under the shelter of a strong state. In economic terms, this entails discarding the notion that the primary purpose of government is to advance globalisation. In future, governments will succeed or fail by how well they can deliver prosperity while managing the social disruption that globalisation produces. Obviously it will be a delicate balancing act. There is a risk that deglobalisation will spiral out of control. New technologies will disrupt settled patterns of working and living whatever governments may do. Popular demands cannot be met in full, but parties that do not curb the market in the interests of social cohesion are consigning themselves to the memory hole. The type of globalisation that has developed over the past decades is not politically sustainable.

To expect liberals to comprehend this situation would be unreasonable. For them, it is not only the liberal order that is melting away, but any sense of their own place in history. From being the vanguard of human progress, they find themselves powerless spectators of events. But they insist that the solution to the crisis of liberalism is clear. What is needed is more of the same: a stronger infusion of idealism; an unyielding determination to renew the liberal projects of the past. The notion that any of these projects needs to be revised or abandoned – global free trade, say, or the free movement of labour across national borders – is unthinkable. The only thing wrong with past policies, they will say, is that they were not liberal enough.

Adamant certainty mixed with self-admiring angst has long defined the liberal mind and does so now. Yet beneath this, a different mood can be detected. All that really remains of liberalism is fear of the future. Faced with the world they thought they knew fading into air, many liberals may be tempted to retreat into the imaginary worlds envisioned by left-leaning non-governmental organisations, or conjured up in academic seminars. This amounts to giving up the political struggle, and it may be that, despite themselves, those who embodied the ruling liberalism are coming to realise that their day is done.

John Gray’s latest book is the new and enlarged edition of “Gray’s Anatomy: Selected Writings” (Penguin)

John Gray is the New Statesman’s lead book reviewer. His latest book is The Soul of the Marionette: A Short Enquiry into Human Freedom.

This article first appeared in the 03 November 2016 issue of the New Statesman, The closing of the liberal mind

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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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