Читать книгу George Lucas: A Biography - John Baxter - Страница 9

I might be a toymaker if I weren’t a film-maker.

George Lucas to critic Joseph Gelmis, 1973

Ramona Avenue has changed little since 1944. Only two blocks long, and twice as wide as more modern streets, it illustrates the generosity of space with which town planners could indulge themselves in those days of unrestricted development. By comparison, its homes, all bungalows, appear cheap – though now, as in 1944, this corner of Modesto exudes prosperity. No sagging campers or rusting wrecks litter the front yards. Hedges are trimmed, flowerbeds weeded. There are few fences, and those that do exist are low enough to step over. In most cases, immaculate lawns run from the kerb right up to the front door, interrupted only by mimosas, four times taller than the houses, that turn the street into a permanent avenue of shade.

With a business and a family to run, George Sr didn’t go to war. Instead, ever the horizontal man, he deepened and widened his niche in Modesto. In shipbuilding, aircraft production, munitions manufacture, prefabricated housing, petrol and rubber production, food growing and canning, and, not least, film production, California led the rest of the Union. Both those wunderkinder of World War II’s construction industry, shipbuilding king Henry Kaiser and Howard Hughes, his aeronautical counterpart, operated from the state. ‘For tens of millions,’ writes social historian William Manchester, ‘the war boom was in fact a bonanza, a Depression dream come true.’

In 1945, when George Jr was eight months old, the Lucases’ fourth and last child, Wendy, was born. Two pregnancies so close together severely strained Dorothy’s health. She was never well again, and for the rest of George’s childhood the Lucas house, like Ramona Avenue itself, lived in shadow. Dorothy spent long periods in hospital, suffering from elusive internal disorders. Her doctors diagnosed pancreatitis, but later removed a large stomach tumor. Georgie and his sisters were brought up mostly by Mildred Shelley, known as ‘Till,’ a businesslike housekeeper who moved from Missouri to look after the family, and who became a fixture of the Lucas household.

George Lucas Sr did just as well in the post-war boom and the expansive business climate under Eisenhower as he had during the war. Like Ike, he became a devoted golfer; and he was a pillar of the local chamber of commerce and the Rotary, for both of which his father-in-law served as long-time president. The most doting of grandfathers, Paul Bomberger was around at Ramona Avenue most weekends with his 16mm camera, recording the progress of his three daughters and his diminutive grandson: watchful, silent, and tiny – only thirty-three pounds and three feet seven inches tall at six years of age – but with a reservoir of nervous energy which most of the family believed he inherited from his mother’s brother Robert, who was also short and feisty.

Georgie’s inquisitive look was accentuated by the Bombergers’ trademark protruding ears. His were so prominent that his father contemplated having the fault corrected surgically. Instead, the family doctor persuaded him to tape back the more protruding ear for a year. With childhood memories of lice infestation, George Sr insisted on having his son’s head shaved every summer. ‘It didn’t matter to us,’ says Lucas’s childhood friend John Plummer, ‘but George was humiliated.’ In his first feature, THX1138, Lucas would show a future repressive society in which everyone’s head is shaved.

When George was nine, the fiancé of his oldest sister Ann died in Korea, a loss which affected George deeply: lacking an older brother, he’d co-opted his future brother-in-law into that role. George also recalled a period of existential anguish when he was six. ‘It centered around God,’ he recalled. ‘What is God? But more than that, what is reality? What is this? It’s as if you reach a point and suddenly you say, “Wait a second, what is the world? What are we? What am I? How do I function in this, and what’s going on here?” It was very profound to me at the time.’ At least one other film-maker went through an almost identical crisis at the same age. Woody Allen’s parents recalled that, at age six, their son became ‘sour and depressed,’ setting the scene for his later films.

In 1949 Leroy Morris sold George Sr the rest of the business, retired, and died three days later. Immediately, Lucas moved the store to new premises on I Street, reopening as The Lucas Company. He began specializing in office machines, becoming the major supplier of calculators, copiers and office furniture to Modesto and nearby Stockton. Later he moved to Kansas Avenue as Lucas Business Systems, district agent for the 3M corporation and its products. In his first year of independence he grossed $30,000, a respectable sum for those days. He had built the sort of business any man would be proud to hand on to his son – if his son was interested.

George Jr was not interested, though for a while his father imagined he’d been born for a life of commerce. Georgie impressed everyone with his practical skills, his creativity, energy, seriousness, and persistence. His sisters remember him at two and a half studying workmen making repairs to the house, then finding a hammer and chisel and attacking a perfectly good wall. By the time he was ten, he showed a talent for construction: ‘I had a little shed out back with tools, and I’d build chess sets and dolls’ houses.’ A childhood friend, Janet Montgomery Deckard, says, ‘Georgie made an entire doll house out of a cardboard box for my Madame Alexander doll. The top was missing so you could look down into it. The walls were wallpapered and everything was in proportion to Madame Alexander.’ A quart milk carton became a sofa, which Lucas covered in blue-and-white chintz, and an old gold lipstick tube served as a lamp.

Lucas also built cars – ‘lots of race cars that we’d push around, like Soap Box Derby.’ With his friends John Plummer and George Frankenstein, he seized the opportunity of a new phone line being laid in the area to appropriate the giant wooden spool on which the cable was wound and, with a rickety runway and a home-made car, improvised a rollercoaster. Plummer, whose father knew people in construction, procured lumber and cement. Under George’s direction they created miniature fortifications and landscapes on which, using toy soldiers and vehicles from the Lucas Company, battles could be fought and refought.

A Lionel model-train set, the best in town, wound through the elaborately re-landscaped garden – a gift from the doting Dorothy. George always knew where to go for help with an ambitious scheme. ‘He never listened to me,’ said his father. ‘He was his mother’s pet. If he wanted a camera, or this or that, he got it.’

With his friend Melvin Cellini, who lived on the next street, George created one of his most complex ‘environments.’ Atmospheric lighting and careful arrangement of props converted the Cellini garage into a haunted house. Kids paid to see it, and there were queues for the first couple of days. George had the idea of encouraging repeat visits by changing the effects periodically. ‘George always was gifted with creative talent and business sense,’ says Cellini. Through Cellini, Lucas also made his first film. Melvin had a movie camera, and they did a stop-motion film of plates stacking themselves up, then unstacking themselves – Lucas’s first experiment in special effects. He never forgot the wonder of it: ‘We were so excited, like a pair of aborigines with some new machine.’

Modesto in general wasn’t a reading town, but comic books were ubiquitous, fanned by the momentum of the war years, when color printing and the demand for propaganda had turned them into an international enthusiasm. John Plummer’s father had a friend who ran a news-stand. Once a month he returned unsold comic books for a refund, but since wholesalers were satisfied with the torn-off covers, the Lucas gang got the books themselves. Georgie’s collection of five hundred comics became the envy of the town, and rather than have drifts of Captain Marvel and Plastic Man litter the house, his father resignedly added shelves to his backyard shed to accommodate it. His sister rescued the comics when George tired of them. Years later, she re-presented them to him. They became the nucleus of a large and valuable collection.

The first TV sets filtered into Modesto in 1949, and the Plummers immediately bought one. Georgie begged his father to do the same, but Lucas refused to allow such a distraction into his house. The Lucases didn’t get their own set until 1954. In their home, as in America in general, radio remained the primary entertainment. Eighty-two per cent of people still tuned in every night. ‘We didn’t get a television set until I was ten years old,’ Lucas recalled. ‘So for the first ten years, I was in front of the radio listening to radio dramas. It played an important part in my life. I listened to Inner Sanctum, The Whistler, The Lone Ranger – those were the ones that interested me.’

But TV couldn’t be stopped. So many people wanted to see the Plummers’ set that Mr Plummer put it in the garage and built bleachers to hold the crowd. George and his friends gathered there to stare at the tiny, bulging, almost circular screen of the old brown bakelite Champion. There was only one station, KRON-TV from San Francisco. It broadcast mostly boxing and wrestling matches, with the occasional cartoon, but the idea of an image piped into one’s own home awed them; they would have watched the test pattern. Lucas went round religiously to the Plummers’ every night at six for Adventure Theater – a twenty-minute episode of an old serial, with a Crusader Rabbit cartoon. Among the serials was Flash Gordon Conquers the Universe. Lucas never forgot it. Once the Lucases got a set, George sat in front of it for hours, especially during the Saturday-morning cartoon programs, with his black cat Dinky curled round his neck.

Lucas has often cited his early experience of television, but is more reticent about movie-going. ‘Movies had extremely little effect on me when I was growing up,’ he has said. ‘I hardly ever went, and when I did it was to meet girls. Television had a much larger effect.’

In 1955, George made the newspapers for the first time. The Modesto Bee reported that he and Melvin Cellini had launched a kids’ newspaper, the Daily Bugle. Cellini saw the idea on TV and co-opted his friend as star reporter, for reasons not unconnected with the family business: George Sr typed the paper’s wax stencils and ran them off on his office duplicator, though he insisted the kids paid for supplies from their profits.

In August 1955 they published their first daily one-sheet issue, printing two hundred copies. ‘You will get your paper free for two weeks,’ it announced, ‘but then it will cost 1 cent. Papers will be given out Monday to Friday. But this Friday it won’t be out because the press broke down.’ Even with George Lucas as reporter, however, the Daily Bugle didn’t flourish. Although the paper was padded out with jokes and riddles, they had trouble filling its pages with events around Modesto. George’s father had flown the family to Los Angeles to visit Disneyland, which opened in July 1955, and George described a different attraction in each issue, but by the second week even this resource was exhausted. ‘The Daily Bugle stops,’ announced their issue of 10 August. ‘The Weekly Bugle will be put out on Wednesday only. There is the same news.’

That the Bugle went out of business so soon is the oddest thing about it, since everyone who knew Lucas as a child agrees that his persistence and tenacity were prodigious. Once launched on a project, he would follow it through to the end. At eleven, given the job of mowing the lawn once a week to earn his pocket money, he saved his allowance until he had $35, borrowed a further $25 from his mother, and bought a power mower to lighten his task. His father, not recognizing the stringy resilience of his own father and grandfather in his son, was furious. Pushing the old mower round the yard every weekend was a valuable discipline. Getting through the job quickly with a power mower demeaned the lesson.

One could imagine Lucas devoting the same energy to the Bugle as to lawnmowing: hiring kids as reporters and vendors, making the paper a paying proposition, and ending up a professional publisher at fifteen. Though a team player, he would often in later life begin working with some charismatic and forceful individual, then gravitate to leadership, and finally supplant his mentor. Some people have suggested that this was his response to the lack of a sympathetic father, but Lucas’s explanation is more pragmatic: ‘That’s one of the ways of learning. You attach yourself to somebody older and wiser than you, learn everything they have to teach, and move on to your own accomplishments.’ He needed to be both part of a group and in charge of it; otherwise, he lost interest. In childhood, as in adulthood, Lucas belonged with the entrepreneurs who defined ‘teamwork’ as ‘a lot of people doing what I say.’