I am every woman

As we mark 100 years of International Women’s Day, Natasha Walter argues that British feminism is sh

A few weeks ago, I found myself sitting in a café in Camden Town, lost for words. I was with Saron, a woman who arrived in the UK seeking asylum some years ago. When she spoke of her youth in her home country, you could catch a spark of the woman she had once been - ambitious, talented and fearless. When she talked of her life now, it was as if a cloud had blocked out the sun.

Afraid, hopeless and with no sense of self-worth, Saron spoke dully about the feeling she had that she was living a life - at the age of 33 - that had come to an end. What silenced me was the way she summed up how she had reached the end of the road. "It wasn't what happened to me at home that broke my spirit. It was what happened to me here."

When she said this, it was shame that stopped my voice. Yes, many men who flee their countries are also treated badly. In the current political climate, we cannot offer a home to everyone who crosses our borders. But the manner in which women are treated when they journey to the west in search of safety shames us all. If you believe that women deserve a voice, you have to listen to their stories. If you believe that they should be entitled to human rights, you must act in response to these stories.

To understand what I mean, listen a little more to Saron's story. She lived a free life in Ethiopia until her early twenties, when, as a young journalist, she went out to report on a student demonstration. Police attacked the protesters, leaving many dead. "Horrible to see," she says succinctly. Because she reported the facts in a newspaper, she was sent to prison. She was naive. "I thought that problems of that kind wouldn't happen to me," she says, explaining why she spoke out.

She got through one episode of imprisonment but, the second time she was jailed, she was raped violently by a police officer. When she was released, her family decided that enough was enough and paid for an escort to get her out of the country. She didn't know where she was going. At first, there was a long journey on foot through the hot, forbidding desert to Sudan; then an aeroplane ride to a cold, forbidding airport in England. She claimed asylum on arrival but was refused.

Saron is articulate about her experiences, yet even now she finds it hard to speak about what happened next. She has, however, been working with a London-based project called Write to Life, run by the Medical Foundation for the Care of Victims of Torture, which has helped her to express herself again through writing.

Her accounts of her life as a refused asylum-seeker in the UK make for chilling reading. Without the right to work, earn money or claim benefits, she was forced for a long time to sleep rough on the streets around King's Cross train station, where, she says: "Men offer you a safe place and then it is like what the policeman did to me in prison."

When she came back into the asylum process for another attempt to secure leave to remain in the country, she was imprisoned, on three separate occasions, in Yarl's Wood, the huge detention centre in Bedfordshire where hundreds of women like Saron are locked up. "I felt nobody was safe in that place," she says. "I thought I'd rather die there than fight. I felt that they had all the power."

During one episode of detention, she stopped eating until she was taken to the hospital. During the third episode, she was placed on suicide watch for a few days before being bundled into a van and driven to the airport. She would be in an Ethiopian jail right now, she tells me, had her lawyer not managed to get her a last-minute reprieve as the van was waiting on the tarmac at Heathrow.

As I walked away from our meeting, what made my heart feel heaviest was not just the thought that this young woman had lived through so much injustice, both in this country and Ethiopia, but also my growing understanding that Saron was not alone. The sad truth is that there are many other Sarons enduring the kind of persecution she suffered as a woman in her own country and the ordeal she went through in the UK when she tried to find refuge here. There are hundreds, even thousands, of other Sarons.

Yet we rarely hear about them, let alone from them. It is as though we edit out the plight of refugee women whenever we talk about equality for women or our desire to help women resist violence. They become the unheard, the voiceless, living among us but invisible. I wonder about the women - perhaps I was one of them - who walked past Saron when she was sleeping rough at King's Cross.

Histories of violence

Many experts are now speaking out about what is happening to women refugees. One of the foremost organisations working for the rights of these women, Asylum Aid, published a telling report in January entitled Unsustainable: the Quality of Initial Decision-Making in Women's Asylum Claims.

The document is not an easy read, but some of the conclusions jump off the page. Many of the decisions that the Home Office makes every day on whether or not to grant women asylum in the UK are badly thought through: "The research found that women were too often refused asylum on grounds that were arbitrary [and] subjective, and demonstrated limited awareness of the UK's legal obligations under the Refugee Convention" - in other words, one could argue that they were illegal.

There is something quite calm and forensic about this sort of language. It's when you meet a woman such as Saron, however, that you
understand what these arbitrary, subjective decisions of dubious legality mean for the women seeking refuge.

“We all know that awful things happen in Africa," Saron says to me. "Nobody claims otherwise. But then you come to a country where there are supposed to be human rights and you find out that they do not apply to you. That is so hard. That's when you realise that you will never be safe. You feel so alone."

The two books I have written, The New Feminism and Living Dolls: the Return of Sexism, have mapped women's experiences of a certain kind - the inequalities that western women come up against every day, from assumptions about our appearance to pressures on our working lives. These things matter; I wouldn't choose to write about them if I didn't care that I, and all women in the west, live in a world that still stifles meaningful equality. But my recent work has brought me up against issues that overshadow many of those experiences.

Five years ago, I co-founded the charity Women for Refugee Women, which works in partnership with other organisations to increase awareness of the experiences of women seeking asylum in the UK. We work with women who are seeking asylum for any reason, but we have discovered that sexual violence is the thread that runs through their stories.

They have been raped or threatened with rape to punish them for speaking out. They have been raped or threatened with rape for being born into the wrong ethnic group or for worshipping the wrong god. Many of them have fled from other experiences that are very specific to women, such as honour crimes, forced prostitution, female genital mutilation and forced marriage.

Women around the world are suffering such abuses. Most of them have no option but to stay within their own communities. A very few manage to cross over to the west, hoping that the commitments that western Europe, the United States and Canada have made to human rights extend to them, too.

Another woman who talked to Women for Refugee Women recently is Alicia. She lived in a society in Cameroon where it was customary for a widow to be married off to the brother of her dead husband. Most women in that situation consent but Alicia refused to do so. She was raped and beaten by her brother-in-law every day while the community stood aside, until a friend took pity on her, took her out of the house and brought her on a plane to the UK.

Once here, she learned that her uncle, in an act of retribution, had killed one of the sons she left behind. "I know that this is the tradition of my country - that a woman must become the wife of her dead husband's brother. But this is
a bad tradition," she says.

Like Saron, Alicia was refused asylum. Like Saron, she was repeatedly imprisoned in Yarl's Wood, and even taken to the airport for attempted deportation.

Tipping points

Even though I have worked in this field for years, I am still shocked by how casually women are refused asylum here. In its report, Asylum Aid noted that Home Office decision-makers often doubted the credibility of applicants' accounts for no good reason.

Indeed, one of the reasons Saron was given for refusal was that, if she had already been imprisoned for so long and had been treated so badly in Ethiopia but had refused to give the police any information, she would no longer be of interest to the government even if she returned, as they would have given up on her. Alicia, meanwhile, was told that her asylum request had been refused because the Home Office believed that her young children would stop their uncle from attacking her.

By using such spurious grounds to refuse these women's applications, the Home Office is trivialising their experiences. It often compounds a women's trauma to have her asylum claim refused. As in Saron's case, refugee women can become destitute, leaving them open to further abuse and exploitation. Many are detained for long periods, as Saron and Alicia were, and this arbitrary loss of liberty can drive them to despair.

We can't call ourselves feminists or supporters of women's rights unless we listen to these women and learn from them. In many ways,
it does not feel like the right time to try to speak up for migrant women - the cuts and the recession have made it harder to shift people's attention away from the problems that we are all dealing with in protecting our jobs and public services.

And yet, in one important way, this is the right moment to bring the experiences of refu­gee women into the foreground. On 8 March, supporters of women's rights and equality between the sexes will be celebrating 100 years of International Women's Day. Film screenings, festivals, marches and parties will take place across the UK. In these celebrations, links will be made between the interests of women in the west and those of women all other parts of the world. Equals - the coalition celebrating Women's Day - includes both organisations that work in the UK, such as the Fawcett Society and UK Feminista, and those that work internationally, such as Women for Women and the White Ribbon Alliance.

In all its campaign messages, the Equals coalition is drawing connections between the experiences of women in the UK and those of women elsewhere. "Why do women feel forced into having sex?" asks its brochure, backing the question up with statistics drawn from life in the UK. But then it asks, "Is being a woman in a warzone more risky than being a soldier?" - referring to statistics from international surveys. One of the coalition's leaders, Annie Lennox, notes: "From India to Illinois, women face violence just for being female."

Only connect

As a feminist, I am excited to see these links being made so clearly. It is essential to raise our eyes from our own experiences from time to time to see what is happening among our neighbours. We cannot talk about the ways in which women who experience violence are disbelieved in our criminal justice system without also listening to the experiences of the women fleeing violence who are being disbelieved in our asylum system.

We cannot talk about how we want equality in our families unless we listen to those who have been forced to flee their own families. And we cannot talk about the need for economic equality without acknowledging the women who are sleeping on the streets of our capital cities, lacking the papers they need to work or claim benefits.

We cannot talk with a superior air about how women are being oppressed in other countries such as Afghanistan or the Democratic Republic of Congo unless we can understand that, even after women have fled from those places to seek refuge in our countries, they may be treated brutally.
If we want a feminism that rests on true solidarity between women of west and east, north and south, the voices of refugee women must play their part. These women are not just victims: many have an important role in increasing our understanding of what women are experiencing throughout the world.

Female refugees can teach us so much. I would not have any notion of how governments all over the planet use sexual violence against women as a tool of ethnic, religious and political persecution if I had not been working, over the past few years, alongside women from countries where this has become a common experience. I would not know about the ways in which women who resist the norms of femininity are punished so violently in some parts of the world if I had not worked with women who had dared to take this path. Nor would I understand how, despite suffering so much in political or domestic conflicts, women who survive these abuses can come to our shores with the desire to rebuild their lives, learn and contribute. Despite the shocking stories they tell, I count myself lucky to have met these survivors of the international wars waged against women, who are determined to move on from their experiences and walk tall.

If you are talking about rights this International Women's Day, you may be talking about what still needs to be done in the UK. Or you may be talking about what needs to be done in far-flung places across the globe. But please understand that these are not separate issues. We are connected.

Saron lives among us, as do thousands like her. No woman is an island. Only when we recognise this will we be able to build a movement that can ensure safety for women such as Saron and others like her.

Some of the interviews were carried out by Sheila Hayman and Melanie McFadyean. Names have been changed “Journeys", readings by women refused asylum in the UK, will be at the Southbank Centre, London SE1, during the Women of the World Festival on 13 March. For more details visit: refugeewomen.com.

Natasha Walter is the founder of Women for Refugee Women, @4refugeewomen

This article first appeared in the 07 March 2011 issue of the New Statesman, The great property swindle

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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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