Life's journey: pilgrims arrive at Mena in Saudi Arabia, carrying stones to throw at pillars symbolising Satan. Photograph: Getty Images.
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Birth of a religion

An interview with Tom Holland, author of In the Shadow of the Sword.

How much do we know about the birth of Islam? Much less than we think, argues the popular historian Tom Holland in his new book, In the Shadow of the Sword.

In Holland’s opinion, the Quran was written long after the death of Muhammad, Mecca is not necessarily the birthplace of the Prophet and modern Muslims’ reverence for their holy writings stops them from confronting the texts’ dubious historical origins.

Bryan Appleyard has described the conclusion of In the Shadow of the Sword as “seismic”; he wrote in the Sunday Times that “Holland’s book leaves almost no aspect of the traditional story of Islam intact”. Another reviewer likened its treatment of the Quran to Dan Brown’s Christianity-as-conspiracy in The Da Vinci Code, “though with a little more class”.

The religion that emerged as Islam by the 8th century was, Holland would argue, just one manifestation of the furthest-reaching moral and ethical metamorphosis in history. Other expressions of the phenomenon were what we now call Judaism and Christianity – faiths that he suggests had taken on something like the form they wear today by the time of Muhammad, but similarly were once swirls of beliefs and doctrines.

Holland’s tale of how Islam came to define itself and its past is only one part of a much broader panorama: one that is ultimately about how Jews, Christians and Muslims all came by their understanding of religion. Does he present a bold new account that undermines Islam’s grip on its own past, or, as I argue, spin out a rich but speculative tale of the possible birth of three religions as novel tools to grapple with an era of geopolitical conflict and rivalry?

Nabeelah Jaffer

Nabeelah Jaffer Your chapters on the ambi­guity of early Christianity and Judaism have slipped under the radar amid the general buzz that you “rubbish” Islam and the expectant wait for some sort of backlash. How doyou feel about the assumption that Muslims are more likely to respond to challenging ideas with violent anger than followers of other religions? And do you think there will be a few far-right attempts to appropriate your ideas?

Tom Holland I think it is one measure of theeffect of the [Salman] Rushdie affair in this country that it is now widely taken for granted that writing anything about Islam will make angry men with beards – and probably hooks as well! – come to kill you. Whenever I have told people what the book was about, the word “fatwa” has invariably surfaced.

That being so, it was probably inevitable that the most eye-catching chapters in the book would be the ones about Islam. But why should any Muslim be offended by what I have to say? Mine is a non-believer’s attempt to explain a puzzle that Muslims, if they have faith, would deny was a puzzle at all. As an adult, I struggle to square my absolute conviction that Abraham and Moses never existed with the occasional flaring of a residual Christian faith. I hope that the resulting tension has been good for the book. Yes, it is sceptical; but no, it is never contemptuous of the longing of people to know God.

NJ I agree. I think both upset Muslims and pleased “Islamophobes” perceive in revisionism a threat to the religious narrative where none exists. The questions that you set out to answer only appear when you take a divine presence out of the equation.

You wrestle, for example, with the “bewilderingly eclectic array of sources” in the Quran, Abrahamic and otherwise. A Muslim would take this as proof of divine input and a revelation which encompasses Judaism and Christianity as part of a prophetic tradition. As a non-Muslim, you rule out this answer and search for an alternative scenario. Presenting a potential secular alternative to the “God” story doesn’t negate the narrative upheld by believers. So, turning to your secular alternative, how does it differ from traditional accounts?

TH All three religions, it seems to me, emerged out of the same melting pot – and yet all three have constructed backstories that aim to occlude the fact. In the first three centuries after Christ, Jews and Christians may have had a consciousness of themselves as peoples with distinct identities, but they remained unclear where precisely the border between them lay.

There were Jews who believed that Jesus had been the Messiah and there were Christians who followed the Jewish law – and it took an unacknowledged alliance between bishops and rabbis, in the centuries after the emperor Constantine, to ensure that what had previously been an open frontier became a no-man’s land. Similarly, a lot of Muslim historiography seems to me to have been composed with the aim of spiking the possibility that either the Quran or the sunna [laws] might conceivably have owed anything to infidel precedent.

NJ Of course, one of the first things you learn as a historian is to interrogate early chronicles for motive using context, whether geopolitical, religious or otherwise. But it is equally dangerous to lean towards the hypersceptic idea that texts cannot be relied upon except to tell us about their writers, meaning the document-free gaps in the past must always consist of near-impregnable darkness.

You don’t go quite that far in your book, but you do apply something of this very sceptical view to early Islamic sources which first appeared in the 200 years after the Prophet’s death as written accounts of oral testimony. You suggest, for example, that hadiths [sayings of Muhammad] targeting the rich were concocted to unsettle the rotten imperial elite. Your argument that “the dry rot of fabrication . . . was endemic throughout the sunna” is much more radical than the traditionalist, more common academic approach, which recognises the importance of testing for fabrication, but values the hadith as a body of secondary sources. I’d disagree that uncovering fabricated elements in these early sources undermines everything that they portray as authentic.

TH I think there’s a particular problem with the sources for early Islam. Some of the sayings attributed to Muhammad must surely be authentic – but even if we could identify them, their value as a source for his life would still not be greatly enhanced as a result.

Context, for the historian, is all – and no Muslim scholar or lawyer who cited the Prophet ever had the slightest interest in establishing what the original context of his sayings might actually have been. To quote him was to take for granted that the advice he had to give was timeless and universal. That Muslims in the heyday of the Caliphate were living under circumstances unimaginable to Muhammad never crossed their minds.

The real problem for the historian is that we lack what, for instance, [the 1st-century Roman-Jewish historian] Josephus gives us for the background to the life of Christ – a control. The consequence is that we can only hope to arrive at a sense of what might have happened in the early years of the Arab conquests by looking at the much later Muslim source material in the light of the late-antique world.

NJ In which case, no explanation of the origins of Islam is ever going to strike the mould for an authentic secular narrative. You rightly point out in your introduction the provisional nature of your own retelling of early Islam: “on a whole range of issues . . . there can only ever be speculation”. While you use Christian and Jewish traces in the Quran to suggest their influence on Muhammad, direct evidence remains elusive.

There’s a wonderful analogy in the book about it being similar to noticing that the eastern and western coasts of the Atlantic Ocean match like a jigsaw puzzle. There seems to be a link, but without clues as to how the two came together, it’s impossible to know for certain how to explain the gap. Historians are just replacing one take on an uncertain past with another.

TH The hypothesis I give in the book as to how and why Islam might have emerged is only that – a hypothesis. Patricia Crone, one of the most brilliant and innovative historians of early Islam, once memorably described the Muslim historical tradition as “a monument to the destruction rather than the preservation of the past”. That being so, it is hardly surprising that there should be such a breathtaking range of opinion, ranging from devout Muslims, who accept the tradition in its entirety, to radical sceptics who doubt that Muhammad so much as existed.

My own take is that the evolution of Islam can only really be made sense of in the light of the civilisations and religions of late antiquity. Partly, that is because it genuinely seems to me the best way to try to understand what might have happened in the 7th century; but I am sure it also reflects a subliminal desire on my part, in love with antiquity as I am, to feel that Islam, like Christianity, was bred of the ancient world.

NJ This debate has, until now, been limited to specialists, for the good reason that it requires a vast amount of study and a good knowledge of Arabic, at least, in order to draw authoritative conclusions from the available sources. Revisionists are few, and those such as Patricia Crone and Michael Cook who argue that Islam was born after the burgeoning of the Caliphate and the Arab conquests do so with the authority of their close understanding of the period, albeit little concrete evidence.

While you obviously draw on the work of such historians and are enthusiastic about the period, is it fair to present a narrative not grounded in direct engagement with the available sources?

TH In writing this book, I am standing on the shoulders of giants – or, to mix metaphors, rushing in where angels fear to tread. My justification is that if a generalist is not prepared to attempt it, then no one will. Perhaps, somewhere, there is a scholar with Latin, Hebrew, Syriac, Arabic and Coptic, doctorates in Talmudic studies, patristics, Christian theology and Quranic studies and an ability to write accessibly for the general public – but if so, he or she is yet to write the book on the subject that I strongly felt merited being written.

Even the greatest historian of the decline and fall of the Roman empire, Edward Gibbon, had to profess his “ignorance of the Oriental tongues, and . . . gratitude to the learned interpreters”. Where I had the advantage, perhaps, was in having a brilliant research assistant, a native Arabic speaker with a specialisation in Syriac, and the incredible generosity of a wide range of scholars.

NJ Locating religious construction in the centuries that followed the death of Muhammad involves saying some particularly challenging things about the Quran and the Prophet himself. For example, you accept that the Quran seems to date from around Muhammad’s time, and certainly recent carbon-dating research suggests an early-7th-century date for indicative Quranic fragments.

When the German Quranic scholar Gerd Puin was allowed to examine the ancient manuscripts recently discovered in Sana’a, Yemen, he found possible evidence of minor changes to verse order and spelling, but uncovered no hint of deliberate fabrication. In the light of all this, proposing that figures such as the 7th-century caliph Abd al-Malik, whom you suggest put the Quran through an “editing process”, and the historian Ibn Hisham constructed a retrospective religion centred on a man named Muhammad, whom they situated in Mecca, seems a little extreme. There are direct mentions of Muhammad in the Quran itself, among dozens of other allusions to his life.

TH The problem for any non-Muslim trying to explain the origins of Islam is what to make of the Quran. It seems to me clearly to derive, in the form we have it, from the lifetime of Muhammad – which makes it, a few other brief and enigmatic documents aside, our only primary source for his career.

The problem is, I cannot possibly accept what Muslims take for granted: that it originates from God. And yet Mecca, so the biographies of the Prophet teach us, was an inveterately pagan city devoid of any large-scale Jewish or Christian presence, situated in the midst of a vast, untenanted desert. How else, then, are we to account for the sudden appearance there of a fully fledged monotheism, complete with references to Abraham, Moses and Jesus, if not as a miracle? You can only answer that question by asking yourself whether Muslims, at some point in the evolution of Islam, might not have situated the origins of the Quran deep in a desert for the same reason that Christians cast the mother of Christ as a virgin. In both cases, what is presumed to be an intrusion of the divine into the dimension of the mortal is being certified as an authentic, bona fide act of God.

NJ I don’t argue that religious practices shouldn’t be understood as firmly within their political and cultural contexts as possible. But religions are necessarily a human phenomenon in their practice, however divine we believe their inspiration and aspiration to be. “Monotheistic revolution” is a misnomer: the evolution of faith didn’t end with the melting pot of Byzantine.

TH I think in the early history of what emerges as rabbinical Judaism, of Christianity and of Islam, you see a near-identical process: the gradual fashioning, out of a great swirl of often inchoate rituals, convictions and scriptures, of a distinct religion that is coherent, in terms of both doctrine and institutions. Watchtowers and barriers go up, the aim being to keep the faithful inside set limits and to keep non-believers out. Histories are then written which make it seem as though the religion has always existed in the form that it now possesses, right from the very beginning – that Moses was a rabbi, that Jesus would have signed up to the Nicaean Creed, that Muhammad was truly the fountainhead of the sunna.

The concrete, initially so soft and malleable, by now has set. This does not mean, of course, that the various religions do not continue to evolve – but they do so within parameters that by now are irrevocably rigid, and exclude contributions from peoples of other faiths. It is in that sense, I would argue, that Jews, Christians and Muslims all today worship different gods.

“In the Shadow of the Sword: the Battle for Global Empire and the End of the Ancient World” by Tom Holland is out now (Little Brown, £25)
Nabeelah Jaffer is a journalist who specialises in Islamic culture and feminism

This article first appeared in the 09 April 2012 issue of the New Statesman, Spring Double Issue

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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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