Egyptian opposition supporters shout slogans as they gather outside the Presidential Palace in Cairo on 11 December 2012. Photograph: Getty Images
Show Hide image

The myth of the Islamist winter

Egypt and Tunisia aren’t sliding into chaos – they are simply learning how to be democracies.

In Tunisia, as in Egypt, the Islamists who came to power through the ballot box are seeing their popularity erode and are tempted to hold on to power by recourse to authoritarian measures. But they have to deal with the legacy of the Arab spring. They face a new political culture: now, one where people who disagree with the government take to the streets; where there is no reverence for established power and the army and the police no longer inspire fear.

The Islamists are obliged to search for allies, as they control neither the army nor the religious sphere. And if they are able to find allies among the Salafists – the religious conservatives – and the military, these two groups are nevertheless not prepared to allow them to become dominant. The Islamists have to negotiate. There is a classical logic of power at work here: the dominant political group finds it hard to accept that power could change hands and so seeks to preserve its position by any means necessary. Moreover, there is no revolutionary dynamic among the populace that would allow it to prevail by appealing to sentiment in the street.

It is interesting to consider the precise nature of this authoritarian turn because it bears little resemblance to the “Islamic revolution” often associated with the Muslim Brotherhood in Egypt and al-Nahda, the Renaissance Party, in Tunisia. It is, on the contrary, a conservative and paradoxically pro-western “counter-revolution”. Consider Egypt. If the president, Mohamed Morsi, is denounced in Tahrir Square as the new Mubarak (and not the new Khomeini), it is because his opponents have grasped that his aim is to establish an authoritarian regime using classical means (appealing to the army and controlling the apparatus of the state).

The electoral and social base of the Egyptian regime is not revolutionary. Instead of trying to reach a compromise with the principal actors of the Arab spring, Morsi is attempting to get all the supporters of the new order on his side. The coalition he is building is based on business, the army, the Salafists and those elements of the “people” that are supposedly tired of anarchy.

Morsi’s economic model is neoliberal: he is surrounded by “Chicago boys” who swear by the free market. He is in favour of deregulation, the end of subsidies and an opening to the global market. His government has just signed a deal with the International Monetary Fund that includes a loan with interest and which it has justified on grounds of necessity. Morsi has accepted the outlook of the IMF, not because he has been forced to do so, but because it is an approach he shares. This will bring further privatisation and competition. And because the price paid by swaths of the population will be severe, the government will need a functioning apparatus of repression and to break the trade unions. It will also have to gain the acquiescence of the army, in exchange for immunity and the right to regulate its own affairs, particularly in the economic sphere.

Meanwhile, to get the Salafists on its side, a cosmetic Islamicisation of society, on the Saudi model rather than the Iranian, ought to suffice: enforced wearing of the veil, continued discrimination against Coptic Christians, a requirement to respect religious norms in public and restrictions on non-orthodox religious practices (specifically, Sufi ceremonies, carried out by followers of Islamic mysticism).

Wider stage

In order to have their hands free domestically, the Islamists must make themselves indispensable to the west – which explains the mediating role that Egypt played in the recent crisis in Gaza. Morsi has performed brilliantly on the international stage, gaining the approval of the Americans in the process. He has fought the radical Islamists in the Sinai and has distanced himself from Iran and Bashar al-Assad’s regime in Syria. He has been able to restore the prestige and influence of Egyptian foreign policy without lapsing into an aggressive Nasserstyle pan-Arabism or pan-Islamism.

Morsi’s success on the international stage has encouraged him to flex his muscles at home. Although there were irregularities in the elections that brought him to power last year, and which led to a legal challenge from the judiciary, no one seriously doubts that they were won handily by the Muslim Brotherhood and the Salafists. But Morsi has gone too far too fast in his attempt to reinforce the power of the presidency at the expense of a judicial apparatus that was able to retain a degree of autonomy under Hosni Mubarak. And his failure to anticipate and understand the strength of public opinion has made things worse. Demonstrations by a cross-section of society that were much larger than expected have undermined confidence in the Muslim Brotherhood. And voices have been raised inside the Brotherhood against this sudden burst of authoritarianism.

Time is against Morsi, because the economic measures that he wants to introduce will make the government increasingly unpopular. And, on the other hand, continued popular protest will require him to call on the army, which will support him, but at a price – the political and economic autonomy that the military is asking for runs counter to the Brotherhood’s programme of economic liberalisation. In short, the new regime is politically isolated.

Besides the street and the political stage, the other battleground for the Muslim Brotherhood is control of the religious sphere. Like al- Nahda in Tunisia, it has discovered that this is considerably more diverse than it had thought. Moreover, figures who had previously been relatively docile where the state was concerned, such as Ahmed el-Tayeb, the Grand Imam of al-Azhar, have reasserted the autonomy that they were granted by the Arab spring. This means that the only way for the government to wrest back control of the religious sphere is to place it under the authority of the state (specifically, to submit the mosques to the diktat of the ministry of religious affairs).

State control of religion would in fact go beyond institutions and extend to religious orthodoxy, leading to limitations being placed on Sufi practices and theological discussions. Even if the Muslim Brothers succeed in the first part of the operation – nationalising faith institutions – the price they will have to pay for it will be high, because the imams won’t appreciate being turned into civil servants. They also run the risk of destroying the religious dynamic of their movement: if the state controls religion, what use is a religious “brotherhood”? And if religion is identified with the state, there is a grave risk that the unpopularity of the government will affect faith institutions in turn, as has happened in Iran.

The Brotherhood will come to be identified with its political wing alone. As in Iran, the nationalisation of religion risks giving rise either to a resurgence of non-orthodox practices or to the secularisation of society. The Brotherhood will lose its soul. And, in the process, it will have lost the Coptic Christians, the liberals and many women, all of whom are apprehensive at the prospect of state-enforced Islamicisation.

The Muslim Brotherhood has taken an enormous risk in trying to prevail by force. The first victim of the way it has exercised power has been its ideology. Islam is not the solution but at best a discourse designed to rally the Salafists, one that disguises a politics more redolent of Pinochet in Chile than of Khomeini in Iran.

If the so-called liberal opposition (which also contains some less-than-democratic elements) sees that it can’t afford a direct confrontation with the government and instead presents itself as a credible political alternative, the Muslim Brothers will pay dearly for a flirtation with authoritarianism that is serving to “secularise” politics in Egypt. Religion is becoming just one instrument of control among others – rather than a social, economic and ideological alternative. This is, in short, the failure of political Islam.

Playing the same game

In Tunisia, the same game is unfolding. Al- Nahda is neither as strong nor as deeply rooted as the Muslim Brotherhood. The movement is more diverse, with a branch that is, if not more liberal, then at least more realistic. And because of their commitment to violence, the Tunisian Salafists are not credible allies. What is more, society has absorbed the culture of protest more deeply than in Egypt. At the local level, demonstrations and riots against the government are common currency, though it is often difficult to discern the motives and strategy of these local actors (criminal and clan activity plays a role that ought not to be underestimated). Tunisia also has the most powerful trade union movement in the Arab world. The UGTT (the Tunisian General Workers’ Union) has a national network of highly organised activists capable of channelling popular protest. Al-Nahda is coming into conflict with the unions, either for the same reasons as in Egypt (a fascination with the free market) or for reasons more specific to Tunisia (it wants allies on its left but cannot bear to compete with a truly popular movement of grass-roots activists).

Additionally, al-Nahda does not control the security forces. The army certainly wants to preserve order, but it will not take the risk of identifying itself with repression against the Tunisian people. Finally, al-Nahda has not succeeded in controlling the religious sphere and has fewer means at its disposal to try to do so than the Muslim Brotherhood in Egypt. In October, a petition was circulated, signed by hundreds of imams who had voted or would vote for al-Nahda but who opposed all attempts to bring the mosques and other faith institutions into the orbit of the state. As in Egypt, al-Nahda proposes to use its own ministry of religious affairs to control the religious sphere, although this statism could rebound against the movement.

Missed popularity

The difficulties encountered by the Islamists have led to a marked decline in popularity in both countries, exposing them to the risk of defeat should elections be called. But the most pressing question is that of the political alternative to the Islamists. The leaders of new political parties have a credibility problem: they are only tenuously connected to the protesters in the streets, they are often associated with the old regimes and they retain an elitist conception of political life. The opposition, in short, is a long way from being able to assemble a credible coalition. The Tunisian opposition in particular suffers from its identification with the secular elite in the capital, Tunis, who are implacably opposed to any re-Islamicisation of society. It also suffers from a democratic deficit, as it has always supported a policy of repression against religious militants. Finally, it finds it easier to campaign in Paris than in the streets of Tunisia. Yet if there were a credible and unified opposition, it could beat al-Nahda in the elections. Consequently, Tunisia’s chances of staying democratic are better than Egypt’s.

In both countries, however, the Arab spring has changed things irrevocably. Beyond the aspects that I emphasised in my first article for the New Statesman nearly two years ago (a new political culture linked to the emergence of a new generation; the diversifying of the religious sphere; a change in geostrategic context that has resulted in the Islamists no longer finding themselves automatically in the anti-western camp; the “embourgeoisement” of the Islamists; the reorientation of a revolutionary movements towards conservative parties), a new factor is contributing to the normalisation of the Islamists – the exercising of power. The Islamists are succeeding neither in delivering the goods in economic and social terms nor in giving the impression that they are architects of an authentic social project that goes beyond the stamping of “Islamic markers” on a society over which they have increasingly little control.

The Islamists can use old techniques (treating their political opponents as “traitors”, introducing censorship, martial law or a state of emergency), but this won’t prevent the people from calling them to account. To get through the period of austerity and the economic difficulties that go with it, they should have done more to secure a “historic compromise” with the liberals. The alternative to such an alliance is not “Islamic revolution”, however. What is taking shape instead is a coalition that is con - servative in politics and morals but neoliberal in economics, and thus open to the west. In this respect, the model is the Justice and Development Party (AKP) in Turkey, which has learned to work with existing institutions and civil society. This has allowed it to reconcile a strong state with a liberal economy, a conservative Islamic party with an open society.

In contrast, if the Muslim Brotherhood wishes to reinforce the state apparatus for its own benefit, it will lose across the board. The Brothers will lose support among the “faithful” to the Salafists (who are less compromised), and in the business community they will lose out to the liberals – or to the army, now that the old guard of marshals and generals has been eliminated. As for the spirit of protest, that is not about to be extinguished.

Translated from the French by Jonathan Derbyshire.

Olivier Roy is head of the Mediterranean Programme at the European University Institute in Florence. He is the author of “Holy Ignorance” (C Hurst & Co, £20)

This article first appeared in the 17 December 2012 issue of the New Statesman, Will Europe ever go to war again?

Creative Commons
Show Hide image

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.

0800 7318496