A Few Words About Gary Kurtz

The name Gary Kurtz isn’t well known except among STAR WARS fans. Along with his partner George Lucas, Kurtz produced the first two films in the original trilogy, and had a lot to do with the franchise’s early success. Gary Kurtz passed away yesterday at age 78 of cancer, and as I looked back on his filmography, I found he was much more than just the “Star Wars” guy.

Monte Hellman’s “Ride in the Whirlwind” (1965)

Gary Kurtz, like many young tyros back in the 1960’s, was a graduate of what’s known as the Roger Corman School of Filmmaking. Getting his start as an assistant director on Monte Hellman’s 1965 Western RIDE IN THE WHIRLWIND, cowritten by and co-starring another Corman alum, Jack Nicholson , Kurtz worked in various capacities on such Corman-related films as VOYAGE TO THE PLANET OF PREHISTORIC WOMEN (production manager), BEACH BALL (camera operator, assistant director, 2nd unit director), QUEEN OF BLOOD (production manager), and THE SHOOTING (assistant cameraman). You just don’t get an education like that in film school!

Richard Dreyfuss, Charlie Martin Smith, and Ron Howard in “American Graffiti” (1973)

After working as an editor, assistant director, and production manager on the Crown-International epic THE HOSTAGE, Kurtz joined Hellman again as associate producer for 1971’s existential road movie TWO LANE BLACKTOP, starring singer James Taylor and Warren Oates. He also got an associate producer gig that same year on Oates’s ode to film noir, CHANDLER . Hooking up with young producer/director George Lucas, Kurtz was co-producer on the hit AMERICAN GRAFFITI , a nostalgic look at teenage life that spawned a 50’s music revival and led to the TV show HAPPY DAYS.

Mark Hamill, Carrie Fisher and Harrison Ford in “Star Wars” (1977)

Lucas and Kurtz fought to get their next project made. No one was interested in a sci-fi film that harkened back to the days of Flash Gordon and Buck Rogers, but the pair persisted, and in 1977 20th Century-Fox released STAR WARS, a mega-hit that’s become a cultural touchstone for millions. Three years later, the sequel THE EMPIRE STRIKES BACK became another solid success. Kurtz left the series after a falling out with Lucas, who he claimed was more interested in merchandising than advancing the story. He teamed with Muppet masters Jim Henson and Frank Oz to produce THE DARK CRYSTAL, which became a hit and has a large cult following today.

Gary Kurtz & George Lucas

Kurtz’s later projects included the flops RETURN TO OZ and SLIPSTREAM (with STAR WARS’ Mark Hamill), the rarely seen animated THE THIEF AND THE COBBLER, and the animated Christian children’s TV series FRIENDS AND HEROES. He may not have been the most famous name in the “Star Wars Universe”, but Gary Kurtz certainly made his mark in American movies. Rest in peace, young Jedi.

 

The Roots of STAR WARS (20th Century Fox 1977)

It had to happen sooner or later so, with the new ROGUE ONE: A STAR WARS STORY being released tomorrow, I figure now is a good time to take a look at one of the biggest films of the 1970’s, STAR WARS (retitled A NEW HOPE for you revisionists, but to me it’s still just STAR WARS). I’m pretty sure everyone reading this post is familiar with the story, so rather than rehash the plot, I’m just going to dive right into some points of interest for classic film fans.

First off, the movie was originally imagined as a loving homage to serials like FLASH GORDON and BUCK ROGERS. Writer/director George Lucas originally intended to remake FLASH, but couldn’t obtain the rights, so he created his own space opera universe, cobbling bits and pieces from Edgar Rice Burroughs, Joseph Campbell, The Bible, and other sources, including the movies he grew up with and admired. There’s a definite John Ford feel to much of STAR WARS, especially THE LOST PATROL  (the droids trekking across Tattoonie) and THE SEARCHERS (Luke discovering the fate of his aunt and uncle). I’d swear Ford himself was calling some of the shots, the composition is that close. Being a huge Ford fan myself, I’m always pleased when someone decides to “borrow” from the old master!

Sergio Leone  also gets some love, during some of the action scenes and use of close-ups. Another Italian director who doesn’t get mentioned when STAR WARS influences are cited is Antonio Margheretti, whose 60’s low-budget sci-fi lunacies sprang to mind as I rewatched the movie. And everyone should be aware of the influence Japanese director Akira Kurosawa has on this film. I do know the scene where a man’s arm is cut off by light sabre, and again where Han Solo is offered “Two thousand now, plus fifteen when we reach Alderaan” are direct references to Kurosawa’s classic YOJIMBO.

I’ve not seen Kurosawa’s THE HIDDEN FORTRESS, so I can’t comment on the correlation between the characters in that film and the banter between CP3O and R2D2. I can say with some certainty the two loveable droids have a direct lineage to classic comedy duo Laurel and Hardy , with a dash of Abbott and Costello for good measure. CP is obviously modeled after Rotwang’s creation Maria in Fritz Lang’s METROPOLIS, while R2 resembles nothing less than a sentient vacuum cleaner! R2 does have a moment when he gets zapped by Jawas that brought to mind FORBIDDEN PLANET (which itself was a heavy influence on another space opera franchise- STAR TREK !).

The evil Lord Darth Vader was so malevolent it took two actors to portray him! Well, not really, the truth is physical presence Dave Prowse’s heavily accented voice didn’t fit the character. Lucas wanted Orson Welles to provide Vader’s ominous tones, but went instead with James Earl Jones, who does a superb job. Prowse had once played the Frankenstein Monster alongside Peter Cushing in FRANKENSTEIN AND THE MONSTER FROM HELL, and the two are reunited here as the great Mr. Cushing plays equally evil Gran Moff Tarkin. I couldn’t help but wonder what the film would’ve been like if Lucas had chosen Christopher Lee to portray Vader, and gave us fans another chance to watch Hammer Film’s two greatest icons together!

The light sabre duel between Vader and Obi-Wan Kenobi (Sir Alec Guinness) is no doubt inspired by the grand final battle between Errol Flynn and Basil Rathbone in THE ADVENTURES OF ROBIN HOOD . Sir Alec himself thought the movie was a lot of “rubbish”, but lends a dignified presence to the proceedings. Some of the films he made with British director David Lean, mainly LAWRENCE OF ARABIA, cast a large shadow over the look of STAR WARS. War films as a whole play a part in influencing the movie, as Cinematographer Gilbert Taylor was behind the camera for THE DAM BUSTERS, the attack on the Death Star was pretty much lifted from 633 SQUADRON, and THE GUNS OF NAVARONE has also been cited as an influence.

I could go on and on, but you get the picture. As much as STAR WARS has influenced a generation of filmmakers, the original itself has its own roots firmly in the cinema of the past. There’s the James Bond-ish battles between the Stormtroopers and the Rebels, the old “walls-closing-in” gag, the opening shot recalling 2001, the CASABLANCA like bar scene, the cocky Han Solo echoing both Kirk Douglas and Burt Lancaster… and I’m not 100% certain, but when Leia calls Chewbacca a “walking carpet”, is that a reference to THE CREEPING TERROR?? Only George Lucas knows for sure!! Lucas took the futuristic visual aesthetic of his THX-1138 , combined it with the full-blooded teen angst of AMERICAN GRAFFITI and his love of film, and gave us an adventure that’s truly stood the test of time. So when you all rush out to see ROGUE ONE tomorrow night, remember without classic films past, there is no STAR WARS. And maybe, just maybe, this little post will persuade a few of you to revisit some of those thrilling films of yesteryear, made long ago, in a studio far, far way…

Before the Force 2: George Lucas’ AMERICAN GRAFFITI (Universal 1973)

After the box office failure of THX-1138, George Lucas had an idea for a different kind of film. A comedy-drama based on his experiences growing up in early 1960s Modesto, California. AMERICAN GRAFFITI was the first movie produced (by Lucas’ friend Francis Ford Coppola) under his Lucasfilms banner. The new project was rejected by all the major Hollywood studios, until Universal decided to take a chance and green light the production. A wise choice, for AMERICAN GRAFFITI was one of 1973’s biggest hits, garnering Academy Award nominations for Best Picture, Director, Original Screenplay, Editing, and Supporting Actress (Candy Clark), and putting George Lucas on the map as a “Force” to be reckoned with.

The story follows four friends on the last day of summer 1962. Steve (Ron Howard) is heading east to college, much to the displeasure of high-school sweetheart Laurie (Cindy Williams). When he tells her they should see other people while he’s away, they break up and make up and break up again. It’s a typical teen romance, done realistically, and the duo make you actually care if they’ll stay together.

Laurie’s brother and Steve’s best friend Curt (Richard Dreyfuss) is supposed to accompany him east, but is having doubts about leaving. He spots a beautiful blonde in a white T-Bird (Suzanne Somers), and goes on a quest to find her. When he runs afoul of local gang the Pharaohs (led by Bo Hopkins, channeling Brando), he gets involved with a prank on the local law (“Holsteins”) by chaining their axel to post in an iconic scene that’s been duplicated but never topped.

John Milner (Paul LeMat) is the town’s King of the Hot-Rodders, who’s never lost a race. While cruising the strip, he ends up getting stuck with a pre-teen named Carol (Mackenzie Phillips) who drives him crazy. Milner and Carol make an odd couple indeed, but they have great chemistry together. Meanwhile, there’s an out of town greaser named Falfa (Harrison Ford) in a ’55 Chevy looking to take him down as racing champ. (BTW, there’s a couple of in-jokes in AMERICAN GRAFFITI. One is Milner’s license plate number…THX 138! The other is the movie playing at the local cinema. You’ll have to try and spot it for yourselves.)

Then there’s Terry the Toad (Charles Martin Smith), everyone’s nerdy pal, who’s given the honor of using Steve’s car while he’s away. Terry tries to be cool, and picks up a girl named Debbie (Clark) while cruising. Terry’s efforts to buy booze to impress the been-around Debbie are hilarious. The two end up parking down by the canal, and when things start to get hot and heavy, they grab a blanket and go outside, only to find the car’s been stolen when they return! Terry and Debbie’s story is probably my favorite, as everyone knew (or knows) a Terry.

These four stories are woven together in separate scenes, culminating in the showdown race between Milner and Falfa at Paradise Road. The whole movie is held together by the vintage 50s-60s songs played throughout, with legendary DJ Wolfman Jack broadcasting from a radio station on the outskirts of town. Jack himself makes an appearance when Curt goes to the station to have a song dedicated to the Girl in the White T-Bird. The use of pop music as soundtrack was a first I believe, soon to become de rigueur in films. The soundtrack album was also a best seller, featuring all the original artists (and yes, I own the CD!).  

AMERICAN GRAFFITI launched the careers of most of the young actors, and ushered in the 50s nostalgia boom in the 1970s. People were sick of Vietnam and Watergate, and eager to return to a simpler time. Soon movies like THE LORDS OF FLATBUSH and GREASE hit the screen, and television joined in with HAPPY DAYS (starring Howard) and LAVERNE AND SHIRLEY (with Williams). 50s cover band Sha Na Na got heir own show, and classic rockers like Jerry Lee Lewis, Chuck Berry, and Bo Diddley released new albums. George Lucas had made his mark by affecting pop culture in a big way. Four years later, he’d affect it even bigger with the release of his third film, a little space opera called STAR WARS.

 

Before the Force: George Lucas’ THX-1138 (Warner Brothers 1971)

George Lucas was a 23 year old film student at USC when he made the short ELECTRIC LABYRINTH: THX 1138 4EB. This 15 minute highly stylized film won first prize at the National Student Film Festival, and Lucas was given an apprenticeship at Warner Brothers. With the help of his friend and USC alumni Francis Ford Coppola, Lucas expanded his short into the feature film THX-1138.

In the future, the masses are controlled by drugs that keep them in a state of sedation. No emotions allowed, especially sexual feelings. Everyone conforms to standard, with shaved heads and asexual jumpsuits. THX (Robert Duvall) works in a robot factory making android police, while his roommate LUH-3417 (Maggie McOmie) is a surveillance expert alongside SEN-5241 (Donald Pleasence). LUH begins switching THX’s meds, and the two discover the joy of sex. They’re found out and separated, and SEN tries to move in with THX, who reports him. Both men are sent to rehabilitation, and THX tries to find LUH and escape from his conformist life.

I saw THX-1138 when it first came out (I was a young teen) and found it boring. Upon rewatching, I feel the same way. It just doesn’t grab me emotionally or draw me into its world at all. The film is technically brilliant, with Walter Murch’s sound work playing an important part, and the great Donald Pleasence is engaging as SEN, but as a whole I just don’t enjoy it. Don’t expect to see any Jedi Knights or cute whirring androids here; it’s not that kind of sci-fi. The closest it comes to STAR WARS is the opening sequence featuring clips of the 30s serial BUCK ROGERS, and the scrolling credits. For me, the film needed more Buck Rogers and less pretentious talk.

THX-1138 didn’t do well at the box office, but it did show George Lucas as a filmmaker with a future. It’s too cold to be anything but a curio of Lucas’ early work, but his next film would show a different side of Lucas, one with more heart. Next time I’ll be looking at the smash 1973 hit AMERICAN GRAFFITI.

Meanwhile, for all you Lucasphiles out there, here’s the original 1967 short ELECTRIC LABYRINTH: THX 1138 4EB: