Understanding the Taliban

Rethinking the war in Helmand has made the British army revise some of its basic assumptions. Workin

There is a popular slogan seen stencilled on American gun trucks: "We do bad things to bad people." Prince Harry had those words on the back of his cap. In the Afghanistan War, the difficulty is working out who those bad people are. An even tougher question is: which of them to kill, and which to put in positions of power and authority?

Winning the war here is not for the squeamish, and a long way from the "ethical foreign policy" of early new Labour. It all boils down to dealing with those bad men. Some of them are already our allies. Others, including men who are currently trying to kill our soldiers, will have a place as our future allies. As one intelligence officer said to me: "In this country, you get to power because, at one stage or another, you've done something really awful. You can't waste time looking for the good guys."

He was probably exaggerating. But you can still see the problem in Musa Qala, the former Taliban stronghold and opium bazaar, wrested back into coalition and government hands last December. I was present during that combat operation and watched as the Afghan flag was raised in the town centre. I have just returned from a trip back.

If you believe the chief of police of Helmand Province, Brigadier Moham mad Hussain Andiwal, the new district governor of Musa Qala is a "war cri m inal" who was invol ved in the slaughter of prisoners, and is a leading heroin dealer - although, given their past history, he may be overegging things a little. Andiwal is referring to Mullah Abdul Salaam, the Taliban com mander who switched sides and was appointed governor of the town in January by President Hamid Karzai, with British backing.

Karzai also sent back to Musa Qala its former police chief. Known to all as Commander "Coca", Andiwal is remembered by the British soldiers in the town two years ago chiefly for rumours that he and his men were kidnapping young boys from the streets.

Today - however unsavoury their pasts may be - both "Coca" and Mullah Salaam get cautious and qualified support from Britain. They get it because they are doing what the British need: establishing a presence for the Afghan government in a dangerous corner of Helmand, and helping to persuade both ordinary Afghan farmers and one-time enemy fighters that the smart move is to reject the Taliban.

Salaam, as a "reconciled" Taliban commander, has been in many ways a disappointment. When I was in Helmand last year, there was talk of his bringing over a large band of Taliban fighters to the government side. This never happened. But he has proved to be a persuader, travelling from village to village having outreach shuras (meetings) and telling people that the return of British and Afghan forces is the way ahead. He is doing so at great risk to his own life.

"I'm a marked man," he told me. "When you return to Musa Qala, I will most likely be dead."

I had tracked down Salaam while he was out of town, preparing to return to his governor's compound in liberated Musa Qala. The word was out that the Taliban were hoping to greet him or Coca with a suicide bomb.

With his great, bushy, black and silvery beard, flowing robes and curled slippers, Mullah Salaam cuts a striking figure. As his comments were being translated, he kept uttering a strange, rasping noise. He was in a gloomy mood, his head sinking steadily between his palms as he contemplated the gap between promises of redevelopment in Helmand and the grind of reality.

"I have promised the people so much," he said, "but we have delivered so little and people will turn on me. Everything comes so slowly." It wasn't foreigners such as the British he blamed, particularly. "The whole government here, they are all criminals," Mullah Salaam said. "They keep the money for themselves."

Situation report

It is very easy to be critical about British intervention in Afghanistan, particularly for the commentators who rest easy in their armchairs. If you looked at an honest situation report after two years of bloody fighting in Helmand, it would have to include some strong negatives: towns deserted due to fighting; an opium harvest so vast that some suggest only a lack of space prevents it getting any bigger; an enemy that still roams free in great swaths of the cultivated "green zone"; and an electricity supply to the towns which has got worse. Add to that an alliance with "friendly forces" which have proved to be deeply corrupt.

Where is the good news? It certainly does not come from winning the war. Soldiers will tell you that, despite some clear territorial gains, we are nowhere close to it. And yet, among the British, morale is pretty good. It comes not because there is an end in sight, but from a series of tactical successes and a sense that a strategy for a victory of sorts is at last evolving - and the resources to achieve this are gathering on the horizon. Above all, there is a feeling of relief that this is not Iraq.

As I reported in this magazine three years ago, it was hard to find a British officer in southern Iraq who believed the invasion had been a good idea. The aftermath was equally depressing: in Basra, soldiers complained of training Shia militiamen who were policemen by day and planted bombs to kill them at night; officers complained of supporting a Iraqi governor who was stealing oil revenues and in league with death squads. "In Afghanistan, the police may be just as corrupt," one senior officer told me, "but at least here they are on our side. They want to go and kill the Taliban."

For the soldiers, Afghanistan has, at least until now, provided an enemy that shows its face and which can be fought with the weapons soldiers have to hand, from SA80 rifles to artillery guns. At a higher level, however, commanders are less convinced by such logic. But they, too, learned bitter lessons in Iraq - and, after two years of sometimes pointless fighting in Helmand, there is a feeling that a road map of sorts is emerging which could ultimately lead British forces to some kind of success. Working with the likes of Mullah Salaam in Musa Qala is part of that new strategy.

Rethinking the war in Helmand has posed a challenge to some basic assumptions, among the greatest of which is our understanding of the enemy. After the 11 September 2001 attacks, when American and British forces first arrived in Afghanistan, a basic misunderstanding became the doctrine. Because the Taliban had sheltered al-Qaeda, the Taliban and al-Qaeda were wrongly labelled as a joint force.

More than six years later, the mistake is in continuing with those assumptions, imagining that the Taliban who fight British troops are merely proxies for Osama Bin Laden. Instead, as military intelligence officers will tell you, the new Taliban insurgency is a battle not for international jihad, but a struggle by tribes, factions and strongmen against an unpopular Afghan government that appeared to have abandoned the largely Pashtun south of the country.

While religious ideology, madrasas, training camps and volunteering for al-Qaeda have a role in creating the fanatics who come to Helmand to die in large numbers, Taliban commanders in the field, who send young Talibs into battle against the British, are often local men with local grievances, local pride and local ambitions, even if they take advice from the Taliban leadership in Pakistan. "You can't look at him and say that religion or ideology has anything to do with why he is fighting," said one British officer, talking of a prominent Taliban commander around Musa Qala. Tribal allegiance and the Pashtun code of honour, as well as the simple provocation that foreign troops represent, all play a part in motivating such men.

What this boils down to is a classic insurgency where some of our most ferocious enemies are potential allies. Few Afghans or Britons now believe that progress can be made without some form of reconciliation process taking place - or without working with those bad men. Most importantly in such an insurgency, as Mao Zedong said, "The people are like water and the army is like fish." Without the tacit support of the population of Helmand, the Taliban would flap around on dry land.

Imposing security

A T-shirt on sale at Kandahar Airport, and worn by some soldiers in Helmand, bears the words "Taliban Hunting Club". In Helmand, there has been plenty of killing. You can measure the rise in violence by the bullets and bombs. Each successive brigade in Helmand, except the last, has expended ammunition in ever greater quantities.

However, the grim truth, as soldiers in Helmand tell you, is that much of the bloodshed has been to no effect. Although a central zone of stability in the province has been gradually expanded, whole parts of the countryside have been "cleared" time and again, only for the Taliban to return. One former British commander bluntly called it "mowing the lawn". A scorecard would read simply: "Many Taliban dead; precious little territory gained."

And yet - as some commentators seem to have missed - the lesson is being learned. Last October, when a new British brigade took command in Helmand, its then commander, Brigadier Andrew MacKay, declared "a concept of operations" where the deaths of enemy soldiers were no longer a measure of success. "The population is the prize," wrote MacKay. A campaign based on counter-insurgency principles, he said, needed operations not so much designed for "kinetic effect" (inflicting physical damage on the enemy), but calibrated to "influence" the population: decreasing support for the enemy and increasing the standing of the Afghan government.

Defeating the Taliban was not the end goal of the campaign, he explained in an interview. Even if thoroughly beaten, they might linger on as a nuisance like the Real IRA "for a hundred years". The tactic was to disrupt them just enough for the Afghan government to be able to re-establish control - and to consolidate its hold with real gains for the local people.

Of course, such "hearts and minds" thinking was always part of the theory. The original British plan for Helmand, taking lessons from counter-insurgency in Malaya, spoke of "inkspots" of security, within which the population could see tangible development gains and in which solid support for the Afghan government could be established. These inkspots would, in theory, expand and then merge.

The reality was different. An understrength British force arriving in the summer of 2006 was spread thinly across the province. With little mobility, it became beleaguered in a series of encircled platoon houses, under constant Taliban attack. Even though the army successfully fought off the attacks, the towns became battlegrounds devastated by fighting. Development went backwards and support for the Taliban grew.

Since then, British objectives have been far more cautious. While UK troop strength has more than tripled (with more than 7,000 deployed to Helmand), MacKay's aim in the past six months was to get away from "mowing the lawn" and concentrate instead on consolidation: creating a lasting presence of British and Afghan forces that not only expands the so-called inkspots of security, but has a "civil effect", making life obviously better for ordinary people.

In practical terms, this has involved a big expansion of the chain of British forts - known as FOBs, or forward operating bases - as well as similar increases in patrol bases and checkpoints for the Afghan army and police, despite ongoing shortages in their numbers.

One example can be found around the market town of Sangin in northern Helmand, which was fought over and reduced to rubble during the first year of British intervention. A ring of new patrol bases has been positioned around the town. They have not halted the fighting, but they have brought a measure of relief to the town centre. The population has returned and some reconstruction has begun. A few bazaar traders even dare fly the Afghan national flag.

MacKay's philosophy of "population is the prize" had its greatest effect during December's military operation to retake Musa Qala, a town that in effect had been handed back to the Taliban just over a year earlier.

The deployment of thousands of British, American and Afghan troops around the target area achieved such an "overmatch" of forces, that, after some initial fierce fighting, the Taliban were forced to flee, allowing the recapture of the town with minimal destruction of property.

But key to the future was the arrival of a team of military development experts - a so-called "stabilisation team" - a day after the Afghan flag was raised. I watched as they unfolded precise blueprints for the construction of a new mosque, for the rebuilding and reopening of a school, and for roads and improvements to local water and power.

Three months later, when I returned, the impact of this strategy could be seen. The mosque project was still being held up by bureaucracy, but a small road had been built, the market had reopened, a health clinic was in operation, the school was up and running, with more than 800 pupils, and a cash-for-work scheme had been set up employing more than 300 people every day.

But if Musa Qala is the success story, it is still clear that fundamental problems remain. Even here - despite the concentration of British efforts - tangible gains for the population are slow in coming.

The most glaring problem is the limits to what the British soldiers themselves can do. While the strategy places "civil effect" centre stage, any kind of reconstruction requires an input from non-military sources, whether from the Foreign Office, from Afghan officials, or from civilian contractors. With the security situation still so unstable, their involvement is proving painfully slow in getting off the ground. "We have got to learn, and learn fast, to deliver aid and reconstruction not only when it's all quiet and peaceful, but under the noses of the enemy - while the mortars are still raining in," said one senior officer.

Yet the slow delivery of aid and reconstruction projects is not just down to security. It is also because British strategy relies on delivering most of its multimillion-pound aid budget by channelling it through the Afghan government in Kabul. For the soldiers on the ground - whose security depends on rapid action to win over the population - such a strategy can be hard to fathom. "All we can do in imposing security is buy time for the Afghan government to step up and do its job," said a British officer. "The problem is that we can't and won't stay here for ever; things have to move faster."

Meanwhile, the situation is getting more dangerous for the British. A softer, more end-focused approach will in all likelihood mean more bloodshed, not less. Getting the "hearts and minds" right means leaving the base and mixing with the population - and thereby facing a daily and increasing threat from suicide bombs, mines and roadside explosive devices.

Even as Helmand moves from blunt conventional war to a smarter counter-insurgency, don't expect a quick fix.

This article first appeared in the 28 April 2008 issue of the New Statesman, Everybody out!

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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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