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Running time 121 minutes Country United States Language English Budget $11 million Box office $775.4 million Star Wars (later retitled Star Wars: Episode IV – A New Hope) is a 1977 American film written and directed. It is the first film in the original trilogy and the beginning of the Star Wars franchise. Starring,,,,,,,,, and, the film's plot focuses on the, led by (Fisher), and its attempt to destroy the 's space station, the. This conflict disrupts the isolated life of farmhand (Hamill), who inadvertently acquires two that possess stolen for the Death Star. When the Empire begins a destructive search for the missing droids, Skywalker accompanies (Guinness) on a mission to return the plans to the Rebel Alliance and rescue Leia from her imprisonment by the Empire. Star Wars was released in theatres in the United States on May 25, 1977. It earned $461 million in the U.S.

And $314 million overseas, totaling $775 million. It surpassed (1975) to become the until the release of (1982).

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When adjusted for inflation, Star Wars is the, and the third-highest-grossing film in the world. It received ten nominations (including ), winning seven. It was among the first films to be selected as part of the U.S.

' as being 'culturally, historically, or aesthetically significant'. At the time, it was the most recent film on the registry and the only one chosen from the 1970s. Its was added to the U.S. Today, it is often regarded as one of the most important films in the. It launched an industry of tie-in products, including TV series spinoffs, novels, comic books, and video games, and merchandise including toys, games and clothing.

The film's success led to two critically and commercially successful sequels, in 1980 and in 1983. Star Wars was reissued multiple times at Lucas' behest, incorporating including modified effects, altered dialogue, re-edited shots, remixed soundtracks, and added scenes.

A was released beginning with in 1999, continuing with in 2002, and concluding with in 2005. The film was followed by a beginning with in 2015, and continued with released in December 2017. A prequel set directly before Star Wars,, was released in 2016.

Contents • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Plot [ ] The galaxy is in the midst of. Spies for the have stolen plans to the 's, a heavily armed capable of destroying an entire planet. Rebel leader has the plans, but her ship is captured by Imperial forces under the command of. Before she is captured, Leia hides the plans in the memory of an,, along with a recording. R2-D2 flees to the surface of the desert planet with, a. The droids are captured by traders, who sell them to moisture farmers and and their nephew. While cleaning R2-D2, Luke accidentally triggers part of Leia's message, in which she requests help from.

The next morning, Luke finds R2-D2 searching for Obi-Wan, and meets Ben Kenobi, an old hermit who lives in the hills and reveals himself to be Obi-Wan. Obi-Wan tells Luke of his days as one of the, former peacekeepers with supernatural powers derived from an energy called, who were all but wiped out by the Empire. Contrary to his uncle's statements, Luke learns that his father fought alongside Obi-Wan as a Jedi Knight.

Obi-Wan tells Luke that Vader was his former pupil who turned to the and killed Luke's father. Obi-Wan then presents to Luke his father's weapon – a. Obi-Wan views Leia's complete message, in which she begs him to take the Death Star plans to her home planet of and give them to her father for analysis. Obi-Wan invites Luke to accompany him to Alderaan and learn the ways of the Force. Luke declines, but changes his mind after discovering that Imperial searching for C-3PO and R2-D2 have destroyed his home and killed his aunt and uncle.

Obi-Wan and Luke hire smuggler and his first mate to transport them to Alderaan on Han's ship, the. Upon the Falcon 's arrival at the location of Alderaan, the group discovers that the planet has been destroyed by order of the Death Star's commanding officer,, as a. The Falcon is captured by the Death Star's and brought into its hangar bay. While Obi-Wan goes to disable the tractor beam, Luke discovers that Leia is imprisoned aboard, and with the help of Han and Chewbacca, rescues her.

After several escapes, the group makes its way back to the Falcon. On the way back to the Falcon, Obi-Wan engages in a lightsaber duel with Vader. Once he is sure the others can escape, Obi-Wan allows himself to be killed. The Falcon escapes from the Death Star, unknowingly carrying a tracking beacon, which the Empire follows to the Rebels' hidden base on.

The Rebels analyze the Death Star's plans and identify a vulnerable exhaust port that connects to the station's main reactor. Luke joins the Rebel assault squadron, while Han collects his payment for the transport and intends to leave, despite Luke's request that he stay and help. In the ensuing battle, the Rebels suffer heavy losses after several unsuccessful attack runs, leaving Luke as one of the few surviving pilots. Vader leads a squadron of and prepares to attack Luke's fighter, but Han returns and fires at the Imperials, sending Vader spiraling away.

Helped by guidance from Obi-Wan's spirit, Luke uses the Force to destroy the Death Star seconds before it can fire on the Rebel base. Back on Yavin IV, Leia awards Luke and Han with medals for their heroism. Main articles: and • as: a young man raised by his aunt and uncle on, who dreams of something more than his current life and learns the way of a. Lucas favored casting young actors who lacked long experience. To play Luke (then known as Luke Starkiller), Lucas sought actors who could project intelligence and integrity. While reading for the character, Hamill found the dialogue to be extremely odd because of its universe-embedded concepts. He chose to simply read it sincerely, and he was selected instead of, who was subsequently cast in the -directed (Lucas shared a joint casting session with De Palma, a longtime friend).

• as: a cynical smuggler hired by Obi-Wan and Luke to take them to in his ship, the, co-piloted with. Lucas initially rejected casting Ford for the role, as he 'wanted new faces'; Ford had previously worked with the director on.

Instead, Lucas asked the actor to assist in the auditions by reading lines with the other actors and explaining the concepts and history behind the scenes that they were reading. Lucas was eventually won over by Ford's portrayal and cast him instead of,,,,,,,,,, (who later played in the sequels), or (who later played Han Solo in ). • as: a member of the Imperial Senate and leader of the. Many young actresses in Hollywood auditioned for the role of Princess Leia, including, (also a singer),,, and. Foster, for one, turned down the role because she was already under contract with and working on two films at the time.

Carrie Fisher was cast under the condition that she lose 10 pounds for the role. • as: Governor of the Outland Regions and commander of the. Lucas originally had Cushing in mind for the role of Obi-Wan Kenobi, but Lucas believed that 'his lean features' would be better employed in the role of Grand Moff Tarkin instead. Lucas commended Cushing's performance, saying '[He] is a very good actor. Adored and idolized by young people and by people who go to see a certain kind of movie. I feel he will be fondly remembered for the next 350 years at least.'

Cushing, commenting on his role, joked: 'I've often wondered what a 'Grand Moff' was. It sounds like something that flew out of a cupboard.' • as: an aging and former mentor of who introduces Luke to the Force. Lucas's decision to cast 'unknowns' was not taken favorably by his friend and the studio. Lucas needed an established actor to play the important Obi-Wan Kenobi character. Producer said, 'The Alec Guinness role required a certain stability and gravitas as a character.

Which meant we needed a very, very strong character actor to play that part.' Before Guinness was cast, Japanese actor (who starred in 's ) was considered for the role. According to Mifune's daughter, Mika Kitagawa, her father turned down Lucas' offers for Kenobi and Darth Vader because 'he was concerned about how the film would look and that it would cheapen the image of samurai. At the time, sci-fi movies still looked quite cheap as the effects were not advanced and he had a lot of samurai pride.' Guinness was one of the few cast members who believed that the film would be successful; he negotiated a deal for 2% of the one-fifth gross paid to George Lucas, which made him quite wealthy in later life. He agreed to take the part of Kenobi on the condition that he would not have to do any publicity to promote the film. Lucas credited him with inspiring the cast and crew to work harder, saying that Guinness contributed significantly to the completion of the filming.

Harrison Ford said, 'It was, for me, fascinating to watch Alec Guinness. He was always prepared, always professional, always very kind to the other actors. He had a very clear head about how to serve the story.' (pictured here in 2005) was convinced to take the role of the droid C-3PO after seeing a design drawing of the character's face. • as: a protocol who speaks over six million languages. Daniels auditioned for and was cast as C-3PO; he has said that he wanted the role after he saw a drawing of the character and was struck by the vulnerability in the robot's face.

Initially, Lucas did not intend to use Daniels' voice for C-3PO. Thirty well-established read for the voice of the droid. According to Daniels, one of the major voice actors, believed by some sources to be, recommended Daniels's voice for the role.

• as: an who is carrying the Death Star plans and a secret message for Obi-Wan from Princess Leia. While Lucas was filming in, where additional casting took place, Baker, performing a musical comedy act with his acting partner Jack Purvis, learned that the film crew was looking for a small person to fit inside a robot suit and maneuver it; Baker, who was 3 feet 8 inches (1.12 m) tall, was cast immediately after meeting George Lucas. He said, 'He saw me come in and said 'He'll do' because I was the smallest guy they'd seen up until then.' He initially turned down the role three times, hesitant to appear in a film where his face would not be shown and hoping to continue the success of his comedy act, which had recently started to be televised. R2-D2's recognizable beeps and squeaks were made by and Lucas imitating 'baby noises', recording these voices as they were heard on an intercom, and creating the final mix using a. • as: a 200-year-old, Han Solo's sidekick, and first mate of the Millennium Falcon.

Mayhew learned of a casting call for Star Wars, which was filming in London, and decided to audition. The 7 feet 3 inches (2.21 m) tall actor was immediately cast as Chewbacca after he stood up to greet Lucas. He said, 'I sat down on one of the sofas, waiting for George. Door opened, and George walked in with Gary behind him. So, naturally, what did I do?

I'm raised in England. Soon as someone comes in through the door, I stand up. George goes 'Hmm [looked up].' Virtually turned to Gary, and said 'I think we've found him. ' He was actually eligible for either of the two roles: Chewbacca or Darth Vader. He chose the former because he wanted to play a hero; British actor David Prowse took the other.

Mayhew modeled his performance of Chewbacca after the mannerisms of animals he saw at public. • as (voiced by ): A lord, second in command of the, who hopes to destroy the Rebel Alliance. Lucas originally intended for to voice Vader (after dismissing using Prowse's own voice due to his English accent, leading to the rest of the cast nicknaming him 'Darth Farmer'). After deciding that Welles' voice would be too recognizable, he cast the lesser-known James Earl Jones instead. Other actors include and, respectively, as and, Luke's uncle and aunt;, Kenny Baker's partner in his London comedy act, as the Chief Jawa in the film; as Vanden Willard, a Rebel general; and as rebel pilots and (Luke's childhood friend), respectively; and and as Imperial Generals and Moradmin Bast, respectively. Plays an admiral, named Conan Antonio Motti, who dares mock Darth Vader's faith in the force and his failure to locate the rebel base and the stolen Death Star plans, and is nearly force choked to death by Vader, only saved by Tarkin intervening and ordering Vader to release him.

Plays a minor role as a Stormtrooper known for accidentally hitting his helmet against a door. Production [ ] Development [ ]. The director and writer of Star Wars, shown here in 2007.

He was unsuccessful in his idea to several major Hollywood studios because it was 'a little strange'. Eventually, Lucas presented the treatment to, and the film was approved. Elements of the history of Star Wars are commonly disputed, as George Lucas' statements about it have changed over time.

One of the claims is that he intended to make the film a. Lucas has said that it was early as 1971—after he completed directing his first full-length feature, —that he first had an idea for a space fantasy film, though he has also claimed to have had the idea long before then. In the 2010 coffee table book Star Wars: Year By Year: A Visual Chronicle produced by DK Publishing and Lucasfilm, George Lucas is said to have made his film as a direct contrast to THX 1138. He felt that the bleak tone of the film led to it being poorly received, and therefore chose to make Star Wars a more optimistic film.

This is what led to the fun and adventurous tone of the space opera. Originally, Lucas wanted to adapt the space adventure comics and serials into his own films, having been fascinated by them since he was young.

In 1979, he said, 'I especially loved the Flash Gordon serials. Of course I realize now how crude and badly done they were. Loving them that much when they were so awful, I began to wonder what would happen if they were done really well.' At the in May following the completion of THX 1138, Lucas was granted a two-film development deal with; the two films were, and an untitled Flash Gordon-esque space fantasy film. He pushed towards buying the Flash Gordon rights.

He said: I wanted to make a Flash Gordon movie, with all the trimmings, but I couldn't obtain the rights to the characters. So I began researching and went right back and found where (who had done the original Flash Gordon comic strips in newspapers) had got his idea from. I discovered that he'd got his inspiration from the works of (author of ) and especially from his series books. I read through that series, then found that what had sparked Burroughs off was a science-fantasy called, written by and published in 1905.

That was the first story in this genre that I have been able to trace. Had got pretty close, I suppose, but he never had a hero battling against space creatures or having adventures on another planet. A whole new genre developed from that idea. Director, who accompanied Lucas in buying the Flash Gordon rights, recounted in 1999, '[George] was very depressed because he had just come back and they wouldn't sell him Flash Gordon. And he says, 'Well, I'll just invent my own. ' Lucas envisioned his own and called it The Star Wars. After his failed attempt to gain the rights, Lucas went to United Artists and showed the script for American Graffiti, but they passed on the film, which was then picked up.

United Artists also passed on Lucas's The Star Wars concept, which he shelved for the time being. After spending the next two years completing American Graffiti, Lucas turned his attention to The Star Wars.

Lucas began writing in January 1973, 'eight hours a day, five days a week', by taking small notes, inventing odd names and assigning them possible characterizations. Lucas would discard many of these by the time the final script was written, but he included several names and places in the final script or its sequels. He revived others decades later when he wrote his prequel trilogy. He used these initial names and ideas to compile a two-page synopsis titled Journal of the Whills, which told the tale of the training of apprentice CJ Thorpe as a 'Jedi-Bendu' space commando by the legendary Mace Windy. Frustrated that his story was too difficult to understand, Lucas then began writing a 13-page called The Star Wars on April 17, 1973, which had thematic parallels with 's 1958 film.

After United Artists declined to budget the film, Lucas and producer presented the film treatment to, the studio that financed American Graffiti; however, it rejected its options for the film because the concept was 'a little strange', and it said that Lucas should follow American Graffiti with more consequential themes. Lucas said, 'I've always been an outsider to Hollywood types.

They think I do weirdo films.' According to Kurtz,, the studio's head, 'just didn't think much of science fiction at that time, didn't think it had much of a future then, with that particular audience.' He said that 'science fiction wasn't popular in the mid-'70s. What seems to be the case generally is that the studio executives are looking for what was popular last year, rather than trying to look forward to what might be popular next year.' Lucas explained in 1977 that the film is not 'about the future' and that it 'is a fantasy much closer to the than it is to '.

He added: 'My main reason for making it was to give young people an honest, wholesome fantasy life, the kind my generation had. We had westerns, pirate movies, all kinds of great things. Now they have and. Where are the romance, the adventure, and the fun that used to be in practically every movie made?' Kurtz said, 'Although Star Wars wasn't like that at all, it was just sort of lumped into that same kind of [science fiction] category.' There were also concerns regarding the project's potentially high budget. Lucas and Kurtz, in the film, said that it would be 'low-budget, style, and the budget was never going to be more than—well, originally we had proposed about 8 million, it ended up being about 10.

Both of those figures are very low budget by Hollywood standards at the time.' After rejected the project, Lucas and Kurtz persisted in securing a studio to support the film because 'other people had read it and said, 'Yeah, it could be a good idea. ' Lucas pursued, the head of, and in June 1973 completed a deal to write and direct the film. Although Ladd did not grasp the technical side of the project, he believed that Lucas was talented. Lucas later stated that Ladd 'invested in me, he did not invest in the movie.' The deal gave Lucas $150,000 to write and direct the film.

'It's the flotsam and jetsam from the period when I was twelve years old. All the books and films and comics that I liked when I was a child. The plot is simple—good against evil—and the film is designed to be all the fun things and fantasy things I remember. The word for this movie is fun.' —George Lucas, 1977 Since commencing his writing process in January 1973, Lucas had done 'various rewrites in the evenings after the day's work.' He would write four different screenplays for Star Wars, 'searching for just the right ingredients, characters and storyline. It's always been what you might call a good idea in search of a story.'

By May 1974, he had expanded the film treatment into a rough draft screenplay, adding elements such as the Sith, the Death Star, and a general by the name of Annikin Starkiller. He changed Starkiller to an adolescent boy, and he shifted the general into a supporting role as a member of a family of. Lucas envisioned the smuggler,, as a large, green-skinned monster with gills.

He based on his dog, Indiana (whom he would later use as namesake for his character ), who often acted as the director's 'co-pilot' by sitting in the passenger seat of his car. Lucas began researching the genre by watching films and reading books and comics. His first script incorporated ideas from many new sources.

The script would also introduce the concept of a Jedi Master father and his son, who trains to be a Jedi under his father's friend; this would ultimately form the basis for the film and, later, the trilogy. However, in this draft, the father is a hero who is still alive at the start of the film. Lucas completed a second draft of The Star Wars in January 1975, making heavy simplifications and introducing the young hero on a farm as Luke Starkiller. Annikin became Luke's father, a wise Jedi knight. ' was also introduced as a mystical energy field. This second draft still had some differences from the final version in the characters and relationships. For example, Luke had several brothers, as well as his father, who appears in a minor role at the end of the film.

The script became more of a quest as opposed to the action-adventure of the previous versions. This version ended with another text crawl, previewing the next story in the series. This draft was also the first to introduce the concept of a Jedi turning to: the draft included a historical Jedi who became the first to ever fall to the dark side, and then trained the Sith to use it. Impressed with his works, Lucas hired conceptual artist to create paintings of certain scenes around this time. When Lucas delivered his screenplay to the studio, he included several of McQuarrie's paintings. A third draft, dated August 1, 1975, was titled The Star Wars: From the Adventures of Luke Starkiller.

This third draft had most of the elements of the final plot, with only some differences in the characters and settings. The draft characterized Luke as an only child, with his father already dead, replacing him with a substitute named Ben Kenobi. This script would be re-written for the fourth and final draft, dated January 1, 1976, as The Adventures of Luke Starkiller as taken from the Journal of the Whills, Saga I: The Star Wars. Lucas worked with his friends and to revise the fourth draft into the final pre-production script. 20th Century Fox approved a budget of $8.25 million; 's positive reception afforded Lucas the leverage necessary to renegotiate his deal with Alan Ladd, Jr. And request the sequel rights to the film.

For Lucas, this deal protected Star Wars ' unwritten segments and most of the merchandising profits. Lucas finished writing his script in March 1976, when the crew started filming. He said, 'What finally emerged through the many drafts of the script has obviously been influenced by science-fiction and action-adventure I've read and seen. And I've seen a lot of it.

I'm trying to make a classic sort of genre picture, a classic space fantasy in which all the influences are working together. There are certain traditional aspects of the genre I wanted to keep and help perpetuate in Star Wars.' During production, he changed Luke's name from Starkiller to Skywalker and altered the title to The Star Wars and later Star Wars. He would also continue to tweak the script during filming, including adding the death of Obi-Wan after realizing he served no purpose in the ending of the film.

For, Lucas originally wrote a composition consisting of six paragraphs with four sentences each. He said, 'The crawl is such a hard thing because you have to be careful that you're not using too many words that people don't understand.

It's like a poem.' Lucas showed his draft to his friends. Director, who was there, described it: 'The crawl at the beginning looks like it was written on a driveway. It goes on forever. It's gibberish.' Lucas recounted what De Palma said the first time he saw it: 'George, you're out of your mind! Let me sit down and write this for you.'

De Palma helped to edit the text into the form used in the film. Design [ ] George Lucas recruited many conceptual designers, including Colin Cantwell, who worked on (1968), to conceptualize the initial spacecraft models; Alex Tavoularis to create the preliminary conceptual sketches of early scripts; and to visualize the characters, costumes, props and scenery. McQuarrie's pre-production paintings of certain scenes from Lucas's early screenplay drafts helped 20th Century Fox visualize the film, which positively influenced their decision to fund the project. After McQuarrie's drawings for Lucas's colleagues and (who were collaborating for a film) caught his interest, Lucas met with McQuarrie to discuss his plans for the then-untitled space fantasy film he wanted to make.

Two years later, after completing American Graffiti, Lucas approached McQuarrie and asked him if he would be interested 'in doing something for Star Wars.' McQuarrie produced a series of artworks from simple sketches; these set a visual tone for the film, and for the rest of the original trilogy. ' Star Wars has no points of reference to Earth time or space, with which we are familiar, and it is not about the future but some galactic past or some extra-temporal present, it is a decidedly inhabited and used place where the hardware is taken for granted.' —Lucas on his 'used future' backdrop The film was ambitious as Lucas wanted to create fresh prop prototypes and sets (based on McQuarrie's paintings) that had never been realized before in science fiction films. He commissioned production designers and, who were working on the sets of the film (1975) when Lucas first approached them, to work on the production sets. Christian recounted in 2014: 'George came to the set I was doing, it was an old salt factory design and he helped me shovel salt, just like two students in plaid shirts and sneakers.

And we spoke and he looked at the set and couldn't believe it wasn't real.' They had a conversation with Lucas on what he would like the film to appear like, with them creating the desired sets. Christian said that Lucas 'didn't want anything [in Star Wars] to stand out, he wanted it [to look] all real and used.

And I said, 'Finally somebody's doing it the right way.' ' Lucas described a 'used future' concept to the production designers in which all devices, ships, and buildings looked aged and dirty. Instead of following the traditional sleekness and futuristic architecture of science fiction films that came before, the Star Wars sets were designed to look inhabited and used. Barry said that the director 'wants to make it look like it's shot on location on your average everyday Death Star or Mos Eisley Spaceport or local cantina.' Lucas believed that 'what is required for true credibility is a used future', opposing the interpretation of 'future in most futurist movies' that 'always looks new and clean and shiny.'

Christian supported Lucas's vision, saying 'All science fiction before was very plastic and stupid uniforms and Flash Gordon stuff. Nothing was new. George was going right against that.'

The designers started working with the director before Star Wars was approved by 20th Century Fox. For four to five months, in a studio in, England, they attempted to plan the creation of the props and sets with 'no money'. Although Lucas initially provided funds using his earnings from American Graffiti, it was inadequate. As they could not afford to dress the sets, Christian was forced to use unconventional methods and materials to achieve the desired look. He suggested that Lucas use in making the dressings, and the director agreed. Christian said, 'I've always had this idea.

I used to do it with models when I was a kid. I'd stick things on them and we'd make things look old.'

Barry, Christian, and their team began designing the props and sets. According to Christian, the Millennium Falcon set was the most difficult to build. Christian wanted the interior of the Falcon to look like that of a submarine. He found scrap airplane metal 'that no one wanted in those days and bought them'.

He began his creation process by breaking down jet engines into scrap pieces, giving him the chance to 'stick it in the sets in specific ways'. It took him several weeks to finish the chess set (which he described as 'the most encrusted set') in the hold of the Falcon.

The garbage compactor set 'was also pretty hard, because I knew I had actors in there and the walls had to come in, and they had to be in dirty water and I had to get stuff that would be light enough so it wouldn't hurt them but also not bobbing around'. A total of 30 sets consisting of planets, starships, caves, control rooms, cantinas, and the Death Star corridors were created; all of the nine sound stages at Elstree were used to accommodate them. The massive rebel hangar set was housed at a second sound stage at; the stage was the largest in Europe at the time. Filming [ ] In 1975, Lucas formed his own visual effects company (ILM) after discovering that 20th Century Fox's visual effects department had been disbanded.

ILM began its work on Star Wars in a warehouse in. Most of the visual effects used pioneering digital developed by and his team, which created the illusion of size by employing small models and slowly moving cameras. George Lucas tried 'to get a cohesive reality' for his feature. However, since the film is a, as he had described, 'I still wanted it to have an ethereal quality, yet be well composed and, also, have an alien look.' He designed the film to have an 'extremely bizarre, -like surreal look with strange over-exposed colors, a lot of shadows, a lot of hot areas.' Lucas wanted Star Wars to embrace the combination of 'strange graphics of fantasy' and 'the feel of a documentary' to impress a distinct look. To achieve this, he hired the British cinematographer.

Originally, Lucas's first choice for the position was, who also provided the cinematography for 's 2001: A Space Odyssey. Unsworth was interested in working with the director, and initially accepted the job when it was offered to him by Lucas and Kurtz. However, he eventually withdrew to work on the -directed (1976) instead, which 'really annoy[ed]' Kurtz. Lucas called up for other cinematographers, and eventually chose Taylor, basing his choice on Taylor's cinematography for and (both 1964).

On his decision, Lucas said: 'I thought they were good, eccentrically photographed pictures with a strong documentary flavor'. Taylor said that Lucas, who was consumed by the details of the complicated production, 'avoided all meetings and contact with me from day one, so I read the extra-long script many times and made my own decisions as to how I would shoot the picture.' He also 'took it upon myself to experiment with photographing the lightsabers and other things onstage before we moved on to our two weeks of location work in '. Taylor was aware of the 'enormous amount of process work' to follow and believed 'a crisp result would help'. During production, Lucas and Taylor—whom Kurtz called 'old-school' and 'crotchety' —had disputes over filming. With a background in, Lucas was accustomed to creating most of the elements of the film himself.

His lighting suggestions were rejected by Taylor, who felt that Lucas was overstepping his boundaries by giving specific instructions, sometimes even moving lights and cameras himself. Taylor refused to use the soft-focus lenses and gauze Lucas wanted after Fox executives complained about the look.

Kurtz stated that 'In a couple of scenes [.] rather than saying, 'It looks a bit over lit, can you fix that?' , [Lucas would] say, 'turn off this light, and turn off that light.' And Gil would say, 'No, I won't do that, I've lit it the way I think it should be—tell me what's the effect that you want, and I'll make a judgment about what to do with my lights.

Hotel Sidi Driss, the underground building in used to film Luke's home Originally, Lucas envisioned the planet of, where much of the film would take place, as a planet. Gary Kurtz traveled to the to scout locations; however, because of the idea of spending months filming in the jungle would make Lucas 'itchy', the director refined his vision and made Tatooine a instead. Kurtz then researched all American, North African, and deserts, and found Tunisia, near the desert, as the ideal location. In the director's commentary of the 2004 DVD edition of A New Hope, Lucas said he wanted to also make it look more 'spacy' or outer space-like in style. When principal photography began on March 22, 1976 in the Tunisian desert for the scenes on Tatooine, the project faced several problems. Lucas fell behind schedule in the first week of shooting due to malfunctioning props and electronic breakdowns.

Moreover, a rare Tunisian rainstorm struck the country, which further disrupted filming. Taylor said, 'you couldn't really see where the land ended and the sky began. It was all a gray mess, and the robots were just a blur.' Given this situation, Lucas requested for heavy, which Taylor rejected, who said: 'I thought the look of the film should be absolutely clean. But George saw it differently, so we tried using nets and other diffusion. He asked to set up one shot on the robots with a 300mm, and the sand and sky just mushed together.

Willem Programmer Pcb50 Software Download more. I told him it wouldn't work, but he said that was the way he wanted to do the entire film, all diffused.' This difference was later settled by 20th Century Fox executives, who backed Taylor's suggestion. Filming began in, while a construction crew in took eight weeks to transform the desert into the desired setting. Other locations included the sand of the Tunisian desert near, where a scene featuring a giant skeleton of a creature lying in the background as and make their way across the sands was filmed.

When actor wore the C-3PO outfit for the first time in Tunisia, the left leg piece shattered down through the plastic covering his left foot, stabbing him. He also could not see through his costume's eyes, which was covered with gold to prevent corrosion. Abnormal radio signals caused by the Tunisian sands made the radio-controlled R2-D2 models run out of control., who portrayed R2-D2, said: 'I was incredibly grateful each time an [R2] would actually work right.' After several scenes were filmed against the volcanic canyons outside Tozeur, production moved to to film Luke's home on Tatooine. Lucas chose Hotel Sidi Driss, which is larger than the typical underground dwellings, to shoot the interior of Luke's homestead. Additional scenes for Tatooine were filmed at in North America. After completing two and a half weeks of filming in Tunisia, the cast and crew moved into the more controlled environment of, near London.

Difficulties encountered in Tunisia were assumed to cease; however, due to strict British working conditions adhered to on set, a new problem arose: filming had to finish by 5:30 pm, unless Lucas was in the middle of a scene. The interiors were shot in London due to its proximity to North Africa and because of the availability of top technical crews at Elstree Studios. The film studio was the only one of its kind in Britain or America that could cater nine large stages at the same time and allow the company complete freedom to use its own personnel.

Despite Lucas' efforts, his crew had little interest in the film and did not take the project seriously. Most of the crew considered the project a 'children's film', rarely took their work seriously, and often found it unintentionally humorous. Actor Baker later confessed that he thought the film would be a failure. Found it strange that 'there's a princess with weird buns in her hair', and he called Chewbacca a 'giant in a monkey suit'.

The Elstree sets designed by John Barry, according to Gilbert Taylor, 'were like a coal mine'. He said that 'they were all black and gray, with really no opportunities for lighting at all'. To resolve the problem, he worked the lighting into the sets by chopping in its walls, ceiling and floors.

This would result in 'a 'cut-out' system of panel lighting', with that could be placed in the holes in the walls, ceiling and floors. His idea was supported by the Fox studio, which agreed that 'we couldn't have this ' '. The lighting approach Taylor devised 'allowed George to shoot in almost any direction without extensive relighting, which gave him more freedom.' In total, filming the scenes in Britain took 14 and a half weeks. Guatemala, which served as the setting of the rebel base. The moon, which acted as the rebel base in the film, was filmed in the temples at, Guatemala. Lucas selected the location as a potential filming site after seeing a poster of it hanging at a while he was filming in Britain.

This inspired him to send a film crew to Guatemala in March 1977 to shoot scenes. While filming in Tikal, the crew paid locals with a six pack of to watch over the camera equipment for several days. Lucas rarely spoke to the actors, who felt that he expected too much of them while providing little direction. His directions to the actors usually consisted of the words 'faster' and 'more intense'. Kurtz stated that 'it happened a lot where he would just say, 'Let's try it again a little bit faster.' That was about the only instruction he'd give anybody. A lot of actors don't mind—they don't care, they just get on with it.

But some actors really need a lot of pampering and a lot of feedback, and if they don't get it, they get paranoid that they might not be doing a good job.' Kurtz has said that Lucas 'wasn't gregarious, he's very much a loner and very shy, so he didn't like large groups of people, he didn't like working with a large crew, he didn't like working with a lot of actors.' Ladd offered Lucas some of the only support from the studio; he dealt with scrutiny from board members over the rising budget and complex screenplay drafts. Initially, Fox approved $8 million for the project; Gary Kurtz said: 'we proceeded to pick a production plan and do a more final budget with a British art department and look for locations in North Africa, and kind of pulled together some things.

Then, it was obvious that 8 million wasn't going to do it—they had approved 8 million.' After requests from the team that 'it had to be more', the executives 'got a bit scared'. For two weeks, Lucas and his crew 'didn't really do anything except kind of pull together new budget figures'. At the same time, after production fell behind schedule, Ladd told Lucas he had to finish production within a week or he would be forced to shut down production. Kurtz said that 'it came out to be like 9.8 or.9 or something like that, and in the end they just said, 'Yes, that's okay, we'll go ahead. ' The crew split into three units, with those units led by Lucas, Kurtz, and production supervisor.

Under the new system, the project met the studio's deadline. During production, the cast attempted to make Lucas laugh or smile, as he often appeared depressed. At one point, the project became so demanding that Lucas was diagnosed with and exhaustion and was warned to reduce his stress level. Was equally stressful due to increasing pressure from 20th Century Fox. Moreover, 's car accident left his face visibly scarred, which restricted re-shoots. Post-production [ ]. Claimed to have been the only person in the audience to have enjoyed the film in its early cut screening Star Wars was originally slated for release on Christmas 1976; however, its production delays pushed the film's release to summer 1977.

Already anxious about meeting his deadline, Lucas was shocked when editor 's first cut of the film was a 'complete disaster'. According to an article in Star Wars Insider No. 41 by David West Reynolds, this first edit of Star Wars contained about 30–40% different footage from the final version. After attempting to persuade Jympson to cut the film his way, Lucas replaced him with and.

He also allowed his then-wife,, to aid the editing process while she was cutting the film (1977) with Lucas's friend. Richard Chew found the film to have a lethargic pace and to have been cut in a by-the-book manner: scenes were played out in that flowed into coverage. He found that the pace was dictated by the actors instead of the cuts. Hirsch and Chew worked on two reels simultaneously. Jympson's original contained a large amount of footage which differed from the of the film, including several alternate takes and a number of to improve the narrative pace. The most significant material cut was a series of scenes from the first part of the film which served to introduce the character of Luke Skywalker. These early scenes, set in Anchorhead on the planet Tatooine, presented the audience with Luke's everyday life among his friends as it is affected by the space battle above the planet; they also introduced the character of, Luke's closest friend who departs to join the Rebellion.

Chew explained the rationale behind removing these scenes as a narrative decision: 'In the first five minutes, we were hitting everybody with more information than they could handle. There were too many story lines to keep straight: the robots and the Princess, Vader, Luke.

So we simplified it by taking out Luke and Biggs'. After viewing a rough cut, Alan Ladd likened these Anchorhead scenes to ' in outer space'. Lucas was looking for a way of accelerating the storytelling, and removing Luke's early scenes would distinguish Star Wars from his earlier teenage drama and 'get that American Graffiti feel out of it'.

Lucas also stated that he wanted to move the narrative focus to C-3PO and R2-D2: 'At the time, to have the first half-hour of the film be mainly about robots was a bold idea.' Meanwhile, Industrial Light & Magic was struggling to achieve unprecedented. The company had spent half of its budget on four shots that Lucas deemed unacceptable. Moreover, theories surfaced that the workers at ILM lacked discipline, forcing Lucas to intervene frequently to ensure that they were on schedule. With hundreds of uncompleted shots remaining, ILM was forced to finish a year's work in six months.

Lucas inspired ILM by editing together aerial from old war films, which enhanced the pacing of the scenes. During the chaos of production and post-production, the team made decisions about character voicing and. Sound designer had created a library of sounds that Lucas referred to as an 'organic soundtrack'.

Blaster sounds were a modified recording of a steel cable, under tension, being struck. The sound effect was developed by Burtt as a combination of the hum of idling in aged and interference caused by a television set on a shieldless. Burtt discovered the latter accidentally as he was looking for a buzzing, sparking sound to add to the projector-motor hum. For Chewbacca's growls, Burtt recorded and combined sounds made by dogs, bears, lions, tigers, and walruses to create phrases and sentences. Lucas and Burtt created the robotic voice of R2-D2 by filtering their voices through an electronic synthesizer. Darth Vader's breathing was achieved by Burtt breathing through the mask of a regulator implanted with a microphone. In February 1977, Lucas screened an early cut of the film for Fox executives, several director friends, along with and of who were preparing a.

The cut had a different crawl from the finished version and used Prowse's voice for Darth Vader. It also lacked most special effects; hand-drawn arrows took the place of blaster beams, and when the Millennium Falcon fought, the film cut to footage of. The reactions of the directors present, such as,, and, disappointed Lucas. Spielberg, who claimed to have been the only person in the audience to have enjoyed the film, believed that the lack of enthusiasm was due to the absence of finished special effects. Lucas later said that the group was honest and seemed bemused by the film. In contrast, Ladd and the other studio executives loved the film; told Lucas: 'This is the greatest film I've ever seen' and cried during the screening.

Lucas found the experience shocking and rewarding, having never gained any approval from studio executives before. The delays increased the budget from $8 million to $11 million. With the project $2 million over budget, Lucas was forced to make numerous artistic compromises to complete Star Wars. Ladd reluctantly agreed to release an extra $20,000 funding and in early 1977 filming completed a number of sequences including exterior desert shots for Tatooine in and in California, and exterior Yavin jungle shots in Guatemala, along with additional studio footage to complete the Mos Eisley Cantina sequence. Lucas had planned to rework a confrontation scene between Han Solo and in Mos Eisley Spaceport by a model of Jabba to replace the actor, but with time and money running out, Lucas reluctantly decided to cut the scene entirely. The sequence was later with a computer-generated version of Jabba. Soundtrack [ ].

Original vinyl release On the recommendation of his friend, Lucas hired composer. Williams had worked with Spielberg on the film, for which he won an. Lucas felt that the film would portray visually foreign worlds, but that the musical score would give the audience an emotional familiarity; he wanted a grand musical sound for Star Wars, with to provide distinction. Therefore, he assembled his favorite orchestral pieces for the soundtrack, until Williams convinced him that an original score would be unique and more unified. However, a few of Williams' pieces were influenced by the tracks given to him by Lucas: the 'Main Title Theme' was inspired by the theme from the 1942 film, scored by; and the track 'Dune Sea of Tatooine' drew from the soundtrack of, scored. In March 1977, Williams conducted the to record the Star Wars soundtrack in 12 days. The original soundtrack was released as a double LP in 1977.

20th Century Records also released that same year, a narrated adaptation of the film utilizing some of its original music, dialogue, and sound effects. The 's ranks the Star Wars soundtrack at number one. Cinematic and literary allusions [ ].

Such as and, which used aircraft like the (top) and the (bottom), respectively, were inspirations for the battle sequences According to Lucas, different concepts of the film were inspired by numerous sources, such as and for the origins of myth and religion. Lucas originally intended to rely heavily on the 1930s; however, he resorted to 's film, and 's, because of copyright issues with Flash Gordon.

[ ] Star Wars features several parallels to Flash Gordon, such as the conflict between Rebels and Imperial Forces, the between scenes, the fusion of futuristic technology and traditional mythology, and the famous that begins each film. The film has also been compared to. The influence of Kurosawa's 1958 film can be seen in the relationship between C-3PO and R2-D2, which evolved from the two bickering peasants in The Hidden Fortress, and a Japanese family crest seen in the earlier film is similar to the Imperial Crest. Star Wars also borrows heavily from another Kurosawa film,. In both films, several men threaten the hero, bragging about how wanted they are by the authorities, and have an arm being cut off by a blade; Kuwabatake Sanjuro (portrayed by ) is offered '. Twenty-five ryo now, twenty-five when you complete the mission.' , whereas Han Solo is offered 'Two thousand now, plus fifteen when we reach Alderaan.'

Tatooine is similar to from 's series. Arrakis is the only known source of a longevity spice called. References to 'spice', various illegal stimulant drugs, occur throughout the last three [ ] films of the Star Wars saga.

In the original film, is a spice smuggler who has been through the spice mines of Kessel. In the conversation at Obi-Wan Kenobi's home, between Obi-Wan and Luke, Luke expresses a belief that his father was a on a spice freighter. Other similarities include those between Princess Leia and Princess Alia, and between and 'The Voice', a controlling ability used by the. In passing, Uncle Owen and Aunt Beru are 'moisture farmers'; in Dune, dew collectors are used by to 'provide a small but reliable source of water.' Frank Herbert reported that ', [director of the 1984 film ] had trouble with the fact that Star Wars used up so much of.' The pair found 'sixteen points of identity' and they calculated that 'the odds against coincidence produced a number larger than the number of stars in the universe.' The Death Star assault scene was modeled after the World War II film (1955), in which fly along heavily defended reservoirs and aim at dams, the heavy industry of Germany's region.

Some of the dialogue in The Dam Busters is repeated in the Star Wars climax; also filmed the special effects sequences in The Dam Busters. In addition, the sequence was partially inspired by the climax of the film (1964), directed by, in which RAF attack a German plant by flying down a narrow to drop special bombs at a precise point, while avoiding anti-aircraft guns and German fighters. Clips from both films were included in Lucas's temporary dogfight footage version of the sequence.

The opening shot of Star Wars, in which a detailed spaceship fills the screen overhead, is a reference to the scene introducing the interplanetary spacecraft in 's seminal 1968 film. The earlier big-budget influenced the look of Star Wars in many other ways, including the use of pods and hexagonal corridors. The Death Star has a docking bay reminiscent of the one on the orbiting space station in 2001. Although and male, C-3PO was inspired by the silver female robot Maria, the from 's 1927 film. The opening crawl of Star Wars, after the addition of the subtitles Episode IV and A New Hope, with Suzy Rice's logotype The film was originally released in 1977 with the title ' Star Wars'. The Episode IV and A New Hope were only added to the opening crawl in subsequent re-releases. Accounts differ as to when this designation was first added; some date the change at the theatrical re-release of April 10, 1981, while others place it much earlier at the re-release in July 1978.

The of these subtitles was intended to bring the film into line with the introduction to its sequel, The Empire Strikes Back, which was released in 1980 bearing the designation 'Episode V'. It is uncertain if the introduction of an episodic naming convention was an indicator of Lucas's original intent, or if this was simply a later redraft of the narrative. According to some accounts, Lucas has claimed that he was discouraged by Twentieth Century Fox from using an episode number on a new film because it would confuse audiences. Gary Kurtz has stated that he and Lucas had originally considered using an episode number for Star Wars to emulate the chapter numbering used in the 1936 Flash Gordon installments, but they were uncertain whether they should designate it Episode III, IV or V.

However, some of Lucas's early script drafts bear titles such as 'The Adventures of the Starkiller (Episode One): The Star Wars' (1975) or 'The Adventures of Luke Starkiller as Taken from the Journal of the Whills: Saga One: Star Wars' (1976). Labview Ebook Torrent here. The Revised Fourth Draft of the script dated January 1975 acquired the subtitle 'Episode IV – A New Hope – from the Journal of the Whills' when published in the 1979 book. Marketing [ ].

Dan Perri's original Star Wars logotype While the film was in production, a logo was commissioned from, a who had worked on the titles for films such as (1973), (1976). Perri devised a STAR WARS consisting of block-capital letters filled with stars and skewed towards a. This logo design was originally conceived to follow the same perspective as the film's opening crawl.

In the end, Perri's logo was not used for the film's opening title sequence, although it was used widely on pre-release print advertising and on cinema. The logotype eventually selected for on-screen use originated in a promotional brochure that was distributed by Fox to cinema owners in 1976. This brochure was designed by, a young art director at the Seiniger Advertising. On a visit to ILM in Van Nuys, Rice was instructed by Lucas to produce a logo that would intimidate the viewer, and he reportedly asked for the logo to appear 'very ' in style. Rice's response to her brief was to use an outlined, modified. After some feedback from Lucas, Rice decided to join the S and T of STAR and the R and S of WARS. Lucas signed off on the brochure in between takes while filming inserts for the Mos Eisley Cantina scene.

Gary Kurtz was impressed with Rice's logo and selected it over Perri's design for the film's opening titles, after modifying the letter W to flatten the pointed tips originally designed by Rice. This finalised the design of one of the most recognisable logos in cinema design, although Rice's contribution was not credited in the film.

For the US release in 1977, 20th Century Fox commissioned a promotional from the Smolen, Smith and Connolly. They used the freelance artist who was given the brief of 'good over evil'.

His poster, known as, depicted Luke Skywalker standing in a heroic pose, brandishing a shining lightsaber above his head, with Princess Leia below him, and a large, ghostly image of Darth Vader's helmet looming behind them. Some Fox executives considered this poster 'too dark' and commissioned the, a pair of well-known, to rework the poster for the UK release. When the film opened in British theaters, the Hildebrandts' was used in cinema. Fox and subsequently decided that they wanted to promote the new film with a less and more depiction of the lead characters.

Producer Gary Kurtz turned to the film poster artist, who was already well known for his prolific work for, and commissioned a new version. Two months after Star Wars opened, the Hildebrandts' poster was replaced by Chantrell's in UK cinemas. Release [ ] Premiere and initial release [ ] Lucasfilm hired Charles Lippincott as marketing director for Star Wars. As 20th Century Fox gave little support for marketing beyond licensing and posters, Lippincott was forced to look elsewhere.

He secured deals with Marvel Comics for a comic book adaptation, and with for a novelization. A fan of science fiction, he used his contacts to promote the film at the and elsewhere within.

Worried that Star Wars would be beaten out by other summer films, such as, 20th Century Fox moved the release date to May 25, the Wednesday before. However, fewer than 40 theaters ordered the film to be shown. In response, the studio demanded that theaters order Star Wars if they wanted the eagerly anticipated based on. 'On opening day I. Did a radio call-in show. This caller, was really enthusiastic and talking about the movie in really deep detail.

I said, 'You know a lot about the film.' He said, 'Yeah, yeah, I've seen it four times already.' ' —Producer, on when he realized Star Wars had become a Star Wars debuted on Wednesday, May 25, 1977, in fewer than 32 theaters, and eight more on Thursday and Friday. Kurtz said in 2002, 'That would be laughable today.' It immediately broke box office records, effectively becoming one of the first films, and Fox accelerated plans to broaden its release. Lucas himself was not able to predict how successful Star Wars would be.

After visiting the set of the film, Lucas was sure Close Encounters would outperform the yet-to-be-released Star Wars at the box office. Spielberg disagreed, and felt Star Wars would be the bigger hit. Lucas proposed they trade 2.5% of the profit on each other's films; Spielberg took the trade, and still receives 2.5% of the profits from Star Wars. Fox initially had doubts if Star Wars would emerge successful. The Other Side of Midnight was supposed to be the studio's big summer hit, while Lucas' movie was considered the 'B track' for theater owners nationwide.

While Fox requested, the studio promised that the film only needed two weeks. Fearing that the film would fail, Lucas had made plans to be in Hawaii with his wife Marcia. Having forgotten that the film would open that day, he spent most of Wednesday in a sound studio in Los Angeles. When Lucas went out for lunch with Marcia, they encountered a long line of people along the sidewalks leading to, waiting to see Star Wars. He was still skeptical of the film's success despite Ladd and the studio's enthusiastic reports. While in Hawaii, it was not until he watched discuss the gigantic crowds for Star Wars on the that Lucas realized he had become very wealthy (, who needed money to finish, sent a telegram to Lucas's hotel asking for funding). Even technical crew members, such as model makers, were asked for autographs, and cast members became instant household names; when Ford visited a record store to buy an album, enthusiastic fans tore half his shirt off.

The film was a huge success for 20th Century Fox, and was credited for reinvigorating the company. Within three weeks of the film's release, the studio's stock price had doubled to a record high. Prior to 1977, 20th Century Fox's greatest annual profits were $37 million, while in 1977, the company broke that record by posting a profit of $79 million. Although the film's cultural neutrality helped it to gain international success, Ladd became anxious during the premiere in Japan. After the screening, the audience was silent, leading him to fear that the film would be unsuccessful. Ladd was later told by his local contacts that, in Japan, silence was the greatest honor to a film, and the subsequent strong box office returns confirmed its popularity.

After two weeks 's replaced Star Wars at Mann's Chinese Theatre because of contractual obligations; moved the film to a less-prestigious location after quickly renovating it. When Star Wars made an unprecedented second opening at Mann's Chinese Theatre on August 3, 1977, after Sorcerer failed, thousands of people attended a ceremony in which C-3PO, R2-D2 and Darth Vader placed their footprints in the theater's forecourt. At that time Star Wars was playing in 1,096 theaters in the United States. Approximately 60 theaters played the film continuously for over a year; in 1978, Lucasfilm distributed 'Birthday Cake' posters to those theaters for special events on May 25, the one-year anniversary of the film's release. Star Wars premiered in the UK on December 27, 1977. Later releases [ ]. The 1997 theatrical release poster of the new Special Edition version of the film (art by ) Star Wars was re-released theatrically in 1978, 1979, 1981 and 1982.

After ILM used for Steven Spielberg's 1993 film, Lucas claimed that digital technology had caught up to his 'original vision' for Star Wars. For the film's 20th anniversary in 1997, Star Wars was digitally remastered and re-released to movie theaters, along with and, under the campaign title Star Wars Trilogy: Special Edition. This version of the film runs 124 minutes.

The Special Edition contains visual shots and scenes that were unachievable in the original release due to financial, technological, and time constraints; one such scene involves a meeting between Han Solo and. The process of creating the new visual effects for Star Wars was featured in the documentary film,, directed by Star Wars sound designer,. Although most changes are minor or cosmetic in nature, many fans and critics believe that Lucas degraded the film with the additions.

A particularly controversial change in which a bounty hunter named shoots first when confronting Han Solo has inspired T-shirts brandishing the phrase '. Star Wars required extensive recovery of misplaced footage and restoration of the whole, before Lucas's Special Edition modifications could be attempted.

It was discovered that in addition to the negative motion picture stocks commonly used on feature films, Lucas had also used film, a reversal stock which deteriorated faster than negative stocks did. This meant that the entire printing negative had to be disassembled, and the CRI (color reversal internegative) portions cleaned separately from the negative portions. Once the cleaning was complete, the film was scanned into the computer for restoration.

In many cases, entire scenes had to be reconstructed from their individual elements. Digital compositing technology allowed them to correct for problems such as alignment of mattes, 'blue-spill', and so forth. The 1977 theatrical version of Star Wars was selected by the National Film Registry of the United States Library of Congress in 1989. While it was initially unclear which version of the film had been archived by the Library, it was subsequently revealed that the Library possessed a copyright deposit print of the original theatrical release, sans A New Hope titling and other later changes. Although the agency has a mandate to register films for preservation, it has no authority to secure its selections from modification by authors or copyright holders. Home media [ ] Star Wars debuted on,,,, and between the 1980s and 1990s.

The final issue of the original theatrical release (pre- Special Edition) to VHS format occurred in 1995, as part of 'Last Chance to Own the Original' campaign, available as part of a trilogy set and as a standalone purchase. The film was released for the first time on on September 21, 2004, in a box set with The Empire Strikes Back, Return of the Jedi, and a bonus disc of supplementary material. The films were digitally restored and remastered, and by George Lucas. The DVD features a commentary track from Lucas, Ben Burtt, Dennis Muren, and Carrie Fisher. The bonus disc contains the documentary, three featurettes, teasers, theatrical trailers, TV spots, still galleries, an exclusive preview of, a playable demo of the game, and a 'Making Of' documentary on. The set was reissued in December 2005 as part of a three-disc limited edition boxed set without the bonus disc. The trilogy was re-released on separate two-disc limited edition DVD sets from September 12 to December 31, 2006, and again in a limited edition tin box set on November 4, 2008; the original versions of the films were added as bonus material.

The release was met with criticism as the unaltered versions were from the 1993 non- LaserDisc masters and were not re-transferred using modern video standards. The transfer led to problems with colors and digital image jarring. All six Star Wars films were released by on on September 16, 2011 in three different editions, with A New Hope available in both a box set of the original trilogy and with the other five films on Star Wars: The Complete Saga, which includes nine discs and over 40 hours of special features. The original theatrical versions of the films were not included in the box set; however, the new 2011 revisions of the trilogy were leaked a month prior to release, inciting controversy the new changes made to these movies and causing an online uproar against Lucas. 20th Century Fox owned full rights to the original film until they sold it to Lucas in 1998 in exchange for a lower distribution fee for the prequels and broadcast rights to Episode I. In late 2012, announced a deal to acquire Lucasfilm for $4.05 billion, with approximately half in cash and half in shares of Disney stock.

Although Disney gained the ownership rights to all six Star Wars films, under a previous deal with Lucasfilm, the full distribution rights to A New Hope were to remain with Fox in perpetuity, while the physical distribution arrangements for the remaining films were set to expire in 2020 (Lucasfilm had retained the television and digital distribution rights to all Star Wars films produced after the original). However, on December 14, 2017, Disney announced that they will be acquiring most of Fox's parent company,, including the film studio. This would give Disney the full rights to A New Hope, as well as the full rights to the remaining films a lot sooner than originally planned. On April 7, 2015,, 20th Century Fox, and Lucasfilm jointly announced the digital releases of the six released Star Wars films.

Fox released A New Hope for on April 10, 2015 and released the other five films. In December 2016, an interview done by director for the Little White Lies film website revealed that Lucasfilm had recently completed a 4K restoration of the film, but did not elaborate on whether the restored version was based on the 1977 original or a subsequent re-release.

3D Re-release [ ] In 2010, announced that all six previously released films would be scanned and transferred to, with a corresponding theatrical release. Was the first of these films and saw its theatrical release in 2012. However, due to, Lucas delayed the releases of the rest of the saga.

While both and 3D versions were screened at the 2013 and 2015, Lucas never released the original trilogy in 3D before Disney bought the franchise in December 2012. Reception [ ] Box office [ ] Star Wars remains one of the most financially successful films of all time. The film earned $1,554,475 through its opening weekend ($6.14 million in 2016 dollars), building up to $7 million weekends as it entered wide release ($27.7 million in 2016 dollars). It replaced as the highest-earning film in North America just six months into release, eventually earning over $220 million during its initial theatrical run ($869 million in 2016 dollars).

Star Wars entered international release towards the end of the year, and in 1978 added the worldwide record to its domestic one, earning $410 million in total. Reissues in 1978, 1979, 1981, and 1982 brought its cumulative gross in Canada and the U.S. To $323 million, and extended its global earnings to $530 million. The film remained the until broke that record in 1983. Following the release of the Special Edition in 1997, Star Wars briefly reclaimed the North American record before losing it again the following year to.

In total, the film has earned $775,398,007 worldwide (including $460,998,007 in North America alone). Adjusted for inflation, it has earned over $2.5 billion worldwide at 2011 prices, making it the most successful film of all time. According to, the film ranks as the third-highest-grossing film when adjusting for inflation; at the North American box office, it ranks second behind on the. Critical response [ ]. 'What makes the Star Wars experience unique, though, is that it happens on such an innocent and often funny level.

It's usually violence that draws me so deeply into a movie — violence ranging from the psychological torment of a character to the mindless crunch of. Maybe movies that scare us find the most direct route to our imaginations. But there's hardly any violence at all in Star Wars (and even then it's presented as essentially bloodless swashbuckling). Instead, there's entertainment so direct and simple that all of the complications of the modern movie seem to vaporize.'

—, in his review for the The film was met with critical acclaim upon its release. In his 1977 review, of the called the film 'an out-of-body experience', compared its special effects to those of, and opined that the true strength of the film was its 'pure narrative'. Of called the film 'the movie that's going to entertain a lot of contemporary folk who have a soft spot for the virtually ritualized manners of comic-book adventure' and 'the most elaborate, most expensive, most beautiful movie serial ever made.' Murphy of described the film as 'magnificent' and claimed George Lucas had succeeded in his attempt to create the 'biggest possible adventure fantasy' based on the serials and older action epics from his childhood. Writing for, Gary Arnold gave the film a positive review, writing that the film 'is a new classic in a rousing movie tradition: a space swashbuckler.' However, the film was not without its detractors: of criticized Star Wars, stating that 'there's no breather in the picture, no lyricism', and that it had no 'emotional grip'.

Of magazine also panned the film and wrote, 'Strip Star Wars of its often striking images and its highfalutin scientific jargon, and you get a story, characters, and dialogue of overwhelming banality.' , reviewing the film in, opined that it 'was made for those (particularly males) who carry a portable shrine within them of their adolescence, a chalice of a Self that was Better Then, before the world's affairs or—in any complex way—sex intruded.' When Star Wars opened in the UK, stating that Lucas's earlier films were better, of concluded that it 'plays enough games to satisfy the most sophisticated.' 's science correspondent said that Star Wars 'is the best such film since 2001 and in certain respects it is one of the most exciting ever made.'

He described the plot as 'unpretentious and pleasantly devoid of any 'message.' ' The film continues to receive critical acclaim from modern critics.

The film website rates it 93% positive based on 104 reviews with an overall rating of 8.6/10. Its consensus states in summary, 'A legendary expansive and ambitious start to the sci-fi saga, George Lucas opens our eyes to the possibilities of blockbuster film-making and things have never been the same.' Reports an aggregate score of 92 out of 100 (based on 14 reviews), indicating 'universal acclaim'.

In his 1997 review of the film's 20th anniversary release, Michael Wilmington of the gave the film four out of four stars, saying, 'A grandiose and violent epic with a simple and whimsical heart.' A staff member described the film as 'a thrilling experience.' In 2001 Matt Ford of the awarded the film five out of five stars and wrote, ' Star Wars isn't the best film ever made, but it is universally loved.' Reported that audiences for Star Wars 's 1999 rerelease gave the film a 'A+' grade., writing for the Chicago Tribune in 1999, said, 'What places it a sizable cut above the routine is its spectacular visual effects, the best since 's 2001.'

Andrew Collins of awarded the film five out of five and said, ' Star Wars ' timeless appeal lies in its easily identified, universal archetypes—goodies to root for, baddies to boo, a princess to be rescued and so on—and if it is most obviously dated to the 70s by the special effects, so be it.' In his 2009 review, Robert Hatch of called the film 'an outrageously successful, what will be called a 'classic,' compilation of nonsense, largely derived but thoroughly reconditioned. I doubt that anyone will ever match it, though the imitations must already be on the drawing boards.' In a more critical review, of the stated, 'None of these characters has any depth, and they're all treated like the fanciful props and settings.' Peter Keough of the said, ' Star Wars is a junkyard of cinematic gimcracks not unlike the ' heap of purloined, discarded, barely functioning droids.'

Accolades [ ]. Shown here in 1973, received multiple award nominations, including one from the, for his performance as Jedi Master Obi-Wan Kenobi. The film garnered numerous accolades after its release.

Star Wars won six competitive at the:,,,, and. A went to sound designer and a went to for the development of the Camera (shared with Alvah J. Miller and Jerry Jeffress, who were both granted for the engineering of the Electronic Motion Control System). Additional nominations included Alec Guinness for, which went to for and George Lucas for,, and, which were instead awarded to 's. At the, the film was nominated for,, (Alec Guinness), and it won the award for. It received six nominations:,,,,, and; the film won in the latter two categories.

John Williams' soundtrack album won the for, and the film attained the for. The film also received twelve nominations at the, winning nine:, and for George Lucas, for Alec Guinness, for John Williams, for John Mollo, for and, for John Dykstra and John Stears, and Outstanding Editing for Paul Hirsch, Marcia Lucas and Richard Chew. Legacy [ ] The original Star Wars trilogy is considered one of the best film trilogies in history. Lucas has often stated that the entire trilogy was intended to be considered one film. However, he said that his story material for Star Wars was too long for a single film, prompting Lucas to split the story into multiple films. Lucas also stated that the story evolved over time and that 'There was never a script completed that had the entire story as it exists now [in 1983].

As the stories unfolded, I would take certain ideas and save them. I kept taking out all the good parts, and I just kept telling myself I would make other movies someday.' In early interviews, it was suggested the series might comprise nine or twelve films.

Star Wars launched the careers of,, and. Ford, who subsequently starred in (1981–2008), (1982), and (1985) after working on the film, told the that Star Wars 'boosted my career', and said, 'I think the great luck of my career is that I've made these family movies which are introduced to succeeding generations of kids by their families at the time it seems appropriate.' The film has spawned consisting of three trilogies (including the original film), anthology films and an extensive media franchise called the including, television series,, and. All of the main films have been box office successes, with the overall box office revenue generated by the Star Wars films (including the theatrical ) totaling over $6.5 billion, making it the third. The film also spawned the, which debuted on on November 17, 1978 and is often considered a failure; Lucas himself disowned it.

The special has never been aired after its original broadcast, and it has never been officially released on home video. However, many bootleg copies exist, and the special has consequently become something of an underground legend. A of the film was broadcast on the American network in 1981. The adaptation was written by and directed by, and was produced with cooperation from, who donated the rights to NPR. John Williams' music and Ben Burtt's sound design were retained for the show, and Mark Hamill (Luke Skywalker) and Anthony Daniels (C-3PO) reprised their roles. The radio drama narrative began with a version of the to the film which relates Princess Leia's acquisition of the secret Death Star plans.

It also featured scenes not seen in the final cut of the film, such as Luke Skywalker's observation of the space battle above Tatooine through binoculars, a skyhopper race, and Darth Vader's interrogation of Princess Leia. The radio version was originally considered to be part of the official, but has since been supplanted by revised canonical narratives.

In popular culture [ ]. See also: Star Wars and its ensuing film installments have been explicitly referenced and satirized across a wide range of media., released in 1978, was one of the first fan films to parody Star Wars. It received positive critical reaction, went to earn over $1 million, and is one of Lucas's favorite Star Wars spoofs. Writing for, said, ' Star Wars littered pop culture of the late 1970s with a galaxy of space junk.' He cited (a short-lived 1977 that parodied the genre) and (a 1970s that produced a 10-minute musical adaptation of Star Wars guest starring Daniels and Mayhew) as 'television's two most infamous examples'. 's, a satirical parody, was released in 1987 to mixed reviews.

Lucas permitted Brooks to make a spoof of the film under 'one incredibly big restriction: no action figures.' Contemporary animated comedy TV series,, and have produced episodes satirizing the film series. Star Wars, together with Lucas, was also the subject of the 2010 documentary film that details the issues of filmmaking and fanaticism pertaining to the film franchise and its creator. Many elements of the film have also endured presence in popular culture.

The iconic weapon of choice of the, the, was voted as the most popular weapon in film history in a survey of approximately 2,000 film. Characters such as Darth Vader, Han Solo and Yoda have become iconic, and all three were named in the top twenty of the 's 'Best Sci-Fi Characters of All-Time' list. The expressions ' and ' have become part of the popular lexicon.

A pun on the latter phrase has led to May 4 being regarded by many fans of the franchise as an unofficial. To commemorate the film's 30th anniversary in May 2007, the issued a set of 15 stamps depicting the characters of the franchise. Approximately 400 mailboxes across the country were also designed to look like R2-D2. Cinematic influence [ ] Film critic wrote in his book, 'Like and, Star Wars was a technical watershed that influenced many of the movies that came after.' It began a new generation of special effects and high-energy motion pictures. The film was one of the first films to link genres together to invent a new, genre for filmmakers to build upon.

Finally, along with 's, it shifted the film industry's focus away from personal filmmaking of the 1970s and towards fast-paced, big-budget for younger audiences. Filmmakers who have said to have been influenced by Star Wars include,,,,,,,,,,,,, and.

Scott, Cameron, and Jackson were influenced by Lucas's concept of the 'used future' (where vehicles and culture are obviously dated) and extended the concept for their films, such as Scott's (1979) and (1982), Cameron's acclaimed sequel (1986) and his earlier breakthrough film (1984). Jackson used the concept for his production of to add a sense of realism and believability.

Christopher Nolan cited Star Wars as an influence when making the 2010 blockbuster film,. Some critics have blamed Star Wars, as well as Jaws, for ruining Hollywood by shifting its focus from 'sophisticated' films such as,, and to films about spectacle and juvenile fantasy.

One such critic,, complained, 'When all was said and done, Lucas and Spielberg returned the 1970s audience, grown sophisticated on a diet of European and films, to the simplicities of the pre-1960s. They marched backward through the looking-glass.' In an opposing view, wrote that through Star Wars and Jaws, Lucas and Spielberg 'didn't betray cinema at all: they plugged it back into the grid, returning the medium to its roots as a carnival sideshow, a magic act, one big special effect', which was 'a kind of rebirth'. Recognition [ ] In its May 30, 1977 issue, the film's year of release, named Star Wars the 'Movie of the Year'. The publication claimed it was a 'big early supporter' of the vision which would become Star Wars. In an article intended for the cover of the issue, Time 's wrote that Star Wars is 'a grand and glorious film that may well be the smash hit of 1977, and certainly is the best movie of the year so far. The result is a remarkable confection: a subliminal history of the movies, wrapped in a riveting tale of suspense and adventure, ornamented with some of the most ingenious special effects ever contrived for film.'

Each of the subsequent films of the Star Wars saga has appeared on the magazine's cover. * (1998) – #15 • (2001) – #27 • (2003): • Han Solo – #14 Hero • Obi-Wan Kenobi – #37 Hero • (2004): • '.' – #8 • (2005) – #1 • (2006) – #39 • (2007) – #13 • (2008) – #2 Sci-Fi Film American Film Institute Star Wars was voted the second most popular film by Americans in a 2008 nationwide poll conducted by the market research firm,. Main articles:,, and Little Star Wars merchandise was available for several months after the film's debut, as only had accepted marketing director Charles Lippincott's licensing offers. Kenner responded to the sudden demand for toys by selling boxed vouchers in its 'empty box' Christmas campaign. Television commercials told children and parents that vouchers within a 'Star Wars Early Bird Certificate Package' could be redeemed for four action figures between February and June 1978.

Jay West of the said that the boxes in the campaign 'became the most coveted empty box[es] in the history of retail.' In 2012, the Star Wars action figures were inducted into the.

The was published in December 1976, six months before the film was released. The credited author was George Lucas, but the book was revealed to have been by, who later wrote the first Star Wars expanded universe novel, (1978). The book was first published as Star Wars: From the Adventures of Luke Skywalker; later editions were titled simply Star Wars (1995) and, later, Star Wars: A New Hope (1997), to reflect the retitling of the film.

Marketing director Charles Lippincott secured the deal with to publish the novelization in November 1976. By February 1977, a half-million copies had been sold. Also adapted the film as the first six issues of its licensed, with the first issue sold in April 1977. Was the writer and was the artist of the adaptation.

Like the novelization, it contained certain elements, such as the scene with Luke and Biggs, that appeared in the screenplay but not in the finished film. The series was so successful that, according to, it 'single-handedly saved Marvel'. In 2013, published a comic adaption of the original screenplay's plot.

Lucasfilm adapted the story for a children's. Released in 1979, the 24-page Star Wars read-along book was accompanied by a 33⅓ rpm 7-inch. Each page of the book contained a cropped from the movie with an abridged and condensed version of the story. The record was produced by, and its content was copyrighted by Black Falcon, Ltd., a subsidiary of Lucasfilm 'formed to handle the merchandising for Star Wars'. Was a 1977 record album presenting an abridged version of the events depicted in Star Wars, using dialogue and sound effects from the original film. The recording was produced by George Lucas and Alan Livingston, and was narrated. The script was adapted by E.

Jack Kaplan and Cheryl Gard. [ ] An audio CD of the Star Wars radio series was released in 1993, containing the original 1981 radio drama along with the radio adaptations of the sequels, The Empire Strikes Back and Return of the Jedi. See also [ ] • • •.

• United Kingdom • United States Language English Budget $7 million Box office $60.6 million Fargo is a 1996 British-American written, produced, edited, and directed. Stars as a pregnant Minnesota investigating roadside homicides that ensue after a desperate car salesman () hires two criminals ( and ) to kidnap his wife in order to extort a hefty ransom from his wealthy father-in-law (). Fargo premiered at the, where Joel Coen won the festival's (Best Director Award) and the film was nominated for the. A critical and commercial success, Fargo received seven nominations, including. McDormand received the Oscar, and the Coens won in the category.

The film was selected in 2006 for preservation in the United States by the as 'culturally, historically, or aesthetically significant'—one of only six films so designated in its first year of eligibility. The named it one of the in 1998. A Coen-produced, inspired by Fargo and taking place in the same universe, started in 2014 and was critically acclaimed. Contents • • • • • • • • • • • • • • • • • • • • Plot [ ] In the winter of 1987,, the sales manager at an dealership in, is desperate for money. He floated a $320,000 loan and collateralized it with nonexistent dealership vehicles and is unable to pay back the loan.

On the advice of dealership mechanic and paroled ex-convict Shep Proudfoot, Jerry travels to and hires small-time cons Gaear Grimsrud and Carl Showalter to kidnap his wife, Jean, and extort a ransom from his wealthy father-in-law and boss, Wade Gustafson, in return for a new car and half of the $80,000 ransom. Jerry pitches Gustafson a lucrative real estate deal, and he agrees to front $750,000. Jerry considers calling off the kidnapping, but learns that Gustafson plans to make the deal himself, giving Jerry a finder's fee. At Jerry's home, Carl and Gaear carry out the kidnapping. As they transport Jean to their remote cabin on, a state trooper pulls them over outside for driving without temporary tags.

When the trooper hears a sound from the back seat, Gaear kills him, then chases down two eyewitnesses and shoots them. The following morning, Brainerd police chief discovers that the dead trooper was ticketing a car with dealership plates. Later, two men driving a dealership vehicle checked into the nearby Blue Ox Motel with two call girls, then placed a call to Proudfoot. After questioning the prostitutes, she drives to Gustafson's dealership, where Proudfoot feigns ignorance and Jerry insists no cars are missing. While in Minneapolis, Marge reconnects with Mike Yanagita, an old classmate. Mike awkwardly and aggressively tries to romance Marge, before breaking down, saying his wife has died. Jerry informs Gustafson that the kidnappers have demanded $1 million, and will deal only through him.

Meanwhile, Carl, in light of the complication of three murders, demands that Jerry hand over the entire $80,000. GMAC gives Jerry 24 hours to prove the existence of the vehicles or return the loan. Carl is beaten by a furious Proudfoot for bringing him under suspicion. Carl orders Jerry to deliver the ransom immediately. Gustafson insists on making the money drop himself. At the drop point in a Minneapolis parking garage, he tells Carl he will not hand over the money without seeing Jean.

An enraged Carl shoots and kills Gustafson, but not before Gustafson shoots Carl in the face. After fleeing the scene, Carl is astounded to discover that the briefcase contains $1 million. He removes $80,000 to split with Gaear, then buries the rest alongside the highway. At the cabin, Gaear has killed Jean; Carl says they must split up and leave the state immediately. Carl and Gaear get into a heated argument over who will keep the dealership car with Carl using his injury as justification. In response, Gaear kills Carl with an axe.

Marge learns that Yanagita's dead wife is neither dead nor his wife. Reflecting on Yanagita's convincing lies, Marge returns to Gustafson's dealership. Jerry continues to insist that he is not missing any cars. Marge asks him to inventory the lot, then spots him fleeing the dealership, and calls the State Police. The next morning, she drives to Moose Lake on a tip from a local bar owner who reported a 'funny-looking guy' bragging about killing someone. Outside a cabin, she finds the dealership car; nearby, Gaear is feeding Carl's dismembered body into a.

Marge shoots him in the leg as he tries to flee, and arrests him. North Dakota police arrest Jerry at a motel outside. Marge's husband Norm, whose painting has been selected for a 3-cent postage stamp, complains that his friend's painting will be on the first class stamp. Marge reassures Norm that lots of people use 3-cent stamps; the two happily anticipate the birth of their child in two months. • as • as • as Carl Showalter • as Gaear Grimsrud • as Wade Gustafson • as Jean Lundegaard • as Scotty Lundegaard • as Shep Proudfoot • as Reilly Diefenbach (voice) • as Stan Grossman • as Norm Gunderson • as Mike Yanagita Production [ ] Claims of factual basis [ ] The film opens with the following text: This is a true story.

The events depicted in this film took place in Minnesota in 1987. At the request of the survivors, the names have been changed. Out of respect for the dead, the rest has been told exactly as it occurred.

Closing credits, however, bear the standard for a work of fiction. Regarding this apparent discrepancy, the Coen brothers claimed that they based their script on an actual criminal event, but wrote a fictional story around it. 'We weren't interested in that kind of fidelity,' Joel Coen said.

'The basic events are the same as in the real case, but the characterizations are fully imagined. If an audience believes that something's based on a real event, it gives you permission to do things they might otherwise not accept.' The brothers have modified their explanation more than once. In 1996, Joel Coen told a reporter that—contrary to the opening graphic—the actual murders were not committed in Minnesota. Many Minnesotans [ ] speculated that the story was inspired by, a attorney who was convicted of hiring a man to murder his wife in 1963, near the Coens' hometown of; but the Coens claimed that they had never heard of Thompson.

After Thompson's death in 2015, Joel Coen changed the explanation again: '[The story was] completely made up. Or, as we like to say, the only thing true about it is that it's a story.' The film's special edition DVD contains yet another account, that the film was inspired by the 1986 from at the hands of her husband, Richard, who disposed of her body through a wood chipper.

Locations [ ] Fargo was filmed during the winter of 1995, mainly in the Minneapolis-St. Paul area and around the actual town of Brainerd (which was the film's original title). ) Due to unusually low snowfall totals in central and southern Minnesota that winter, scenes requiring snow-covered landscapes had to be shot in northern Minnesota and eastern North Dakota (though not in Fargo itself). Jerry's initial meeting with Carl and Gaear was shot at a pool hall and bar called The King of Clubs in the northeast section of Minneapolis.

It was later demolished, along with most other buildings on that block of Central Avenue, and replaced by low-income housing. Gustafson's auto dealership was actually Wally McCarthy Oldsmobile in, a southern suburb of Minneapolis. The site is now occupied by 's national corporate headquarters. The 'Welcome to Brainerd' statue was built for the film in the northeast corner of North Dakota, near the Canadian border. (Though several present-day Paul Bunyan statues in Minnesota and North Dakota claim to be associated with Fargo, the one actually used in the movie was dismantled after filming was completed.) The Blue Ox motel/truckstop was Stockmen's Truck Stop in, which is still in business. Ember's, the restaurant where Carl discussed the ransom drop with Gustafson, was located in, the Coens' hometown; the building now houses a medical outpatient treatment center. The Lakeside Club, where Marge interviewed the hookers, was a family restaurant—now closed—in.

The kidnappers' Moose Lake hideout actually stood on the shore of, near. The cabin was relocated to in 2002. The police station where the interior police headquarters scenes were filmed is still in operation, but has been completely rebuilt. The Carlton Celebrity Room was an actual venue in, and did once appear there, but it had been closed for almost ten years when filming began. The Feliciano scene was shot at the Chanhassen Dinner Theatre in, near Minneapolis.

The ransom drop was filmed in two adjacent parking garages on South 8th Street in downtown Minneapolis. Scenes in the Lundegaards' kitchen were shot in a private home on Pillsbury Avenue in Minneapolis, and the house where Mr. Mohra described the 'funny looking little guy' to police is in, in northwest Minnesota. The motel “outside of Bismarck”, where the police finally catch up with Jerry, is the Hitching Post Motel in, north of Minneapolis.

While none of Fargo was actually filmed in Fargo, the Fargo-Moorhead Convention & Visitors Bureau exhibits original script copies and several props used in the film, including the wood chipper. After the movie's release, by some accounts, Brainerd was invaded by shovel-toting moviegoers searching for the buried ransom cash, inspired by the dubious 'based-on-a-true-story' announcement in the opening credits. Accent [ ] The film's illustrations of ' and distinctive and expressions made a lasting impression on audiences; years later, locals reported continuing to field tourist requests to say 'Yah, you betcha', and other tag lines from the movie. Dialect coach Liz Himelstein maintained that 'the accent was another character'. She coached the cast using audio tapes and field trips.

Another dialect coach, Larissa Kokernot (who also played one of the prostitutes), noted that the 'small-town, Minnesota accent is close to the sound of the Nords and the Swedes,' which is 'where the musicality comes from'. She taught McDormand 'Minnesota nice' and the characteristic head-nodding to show agreement.

The strong accent spoken by Macy's and McDormand's characters, which was exaggerated for effect, is less common in the Twin Cities, where over 60% of the state's population lives. The Minneapolis and St. Paul dialect is characterized by the, which is also found in other places in the Northern United States as far east as.

Reception [ ] Critical response [ ] Fargo holds a 94% approval rating and 8.7/10 average on based on 87 reviews. The site's critical consensus reads, 'Violent, quirky, and darkly funny, Fargo delivers an original crime story and a wonderful performance by McDormand'. The film scores 85 out of 100 on, based on 24 reviews, indicating 'universal acclaim'.

And each named Fargo the best film of 1996. Ebert called it 'one of the best films I've ever seen', adding that 'films like Fargo are why I love the movies'. He later ranked it fourth on his list of the best films of the 1990s.

Fargo was ranked 84th on the 's ' list in 1998 (although it was removed from the 2007 version) and 93rd on ' list. The Marge Gunderson character was ranked 33rd on.

In 2010, the selected the film as one of its '30 Most Significant Independent Films' of the last 30 years. Film festivals [ ] Fargo premiered at the, where it was nominated for the competition's highest honor, the. Joel Coen won the top directorial award, the.

Subsequent notable screenings included the in, the in the, and the Film Festival. In 2006, the sixth annual marked Fargo's tenth anniversary by projecting the movie on a gigantic screen mounted on the north side of Fargo's tallest building, the Radisson Hotel. Accolades [ ] Wins [ ] • – • – • – • – Joel Coen • • – Frances McDormand • – Joel Coen • • – Joel Coen • – Frances McDormand • – Frances McDormand • – Joel and Ethan Coen • • – Joel Coen • – • – Frances McDormand • – Joel and Ethan Coen • - • 1998 – #84 • 2000 – #93 • 2003: – #33 Hero • 2006 Nominations [ ] • – • – Joel Coen • – William H. Macy • – Roger Deakins • – Roderick Jaynes • • • • • – Joel Coen • – Frances McDormand • – Joel and Ethan Coen • of the • • – William H. Macy • – Joel and Ethan Coen • – William H.

Macy Soundtrack [ ] Fargo/Barton Fink: Music by Carter Burwell by Released May 28, 1996 Length 43: 15 film soundtracks chronology (1994) 1994 Fargo (1996) (1998) 1998 As with all the ' films, except, the score to Fargo is. The main musical is based on a Norwegian folk song called 'The Lost Sheep', or natively 'Den bortkomne sauen'. Other songs featured in the film include: ' by, heard in the King of Clubs while Jerry meets with Carl and Gaear, ' by plays in the as Shep works, and 'Let's Find Each Other Tonight' a live nightclub performance by that is viewed by Carl and a female escort. In the diner, when Jerry is urging Wade not to get police involved in his wife's kidnapping, 's ' can be heard faintly in the background. An instrumental version of ' plays during the scene where Marge and Norm are eating at a buffet.

The restaurant scene with Mike Yanagita is accompanied by a piano arrangement of '. All the songs heard in the film are featured only as background music, usually on a radio, and do not appear on the soundtrack album. The soundtrack was released in 1996 on, combined with selections from the score to. Track listing [ ] No. Title Length 1. 'Fargo, North Dakota' 2:47 2.

'Moose Lake' 0:41 3. 'A Lot of Woe' 0:49 4. 'Forced Entry' 1:23 5. 'The Ozone' 0:57 6. 'The Trooper's End' 1:06 7.

'Chewing on It' 0:51 8. 'Rubbernecking' 2:04 9. 'Dance of the Sierra' 1:23 10.

'The Mallard' 0:58 11. 'Delivery' 4:46 12. 'Bismarck, North Dakota' 1:02 13. 'Paul Bunyan' 0:35 14. 'The Eager Beaver' 3:10 15. 'Brainerd Minnesota' 2:40 16.

'Safe Keeping' 1:41 Total length: 43:15 Home video releases [ ] • Fargo has been released in several formats:,, DVD,, and download. The first home video release of the film was on November 19, 1996 on a cassette.

A collector's edition widescreen VHS was also released and included a that depicted the woodchipper scene which, when shaken, stirred up both snow and 'blood'. • released Fargo on DVD on July 8, 1997 in a bare-bones edition. A 'Special Edition' DVD was released on September 30, 2003. The released featured minor changes to the film, particularly with its subtitles.

The opening titles stating 'This is a True Story' have been changed in this edition from the actual titles on the film print to digitally inserted titles. Also, the subtitle preceding Lundegaard's arrest 'Outside of Bismarck, North Dakota' has been inserted digitally and moved from the bottom of the screen to the top. The special edition of Fargo was repackaged in several Coen brothers box sets and also as a double feature DVD with other MGM releases. • A Blu-ray version was released on May 12, 2009 and later in a DVD combo pack in 2010.

On April 1, 2014, in commemoration for the 90th anniversary of, the film was remastered in and reissued again on Blu-ray. Television series [ ] In 1997, a was filmed for an intended television series based on the film. Set in Brainerd shortly after the events of the film, it starred as Marge Gunderson and Bruce Bohne reprising his role as Officer Lou.

It was directed by and featured no involvement from the Coen brothers. The episode aired in 2003 during 's Brilliant But Cancelled series of failed TV shows. A follow-up inspired by the film, with the Coens as executive producers, debuted on in April 2014.

The received acclaim from both critics and audiences. Existing in the same as the film, each season features a different story, cast, and decade-setting. In season one, the episode ' reintroduces the buried ransom money for a minor three-episode subplot.

The series continues to be a success, and has had two additional seasons made thus far. See also [ ] • —a film about a young Japanese woman who becomes obsessed with Fargo, believing the events it depicts to be real References [ ]. Retrieved August 2, 2015. Retrieved August 5, 2015. Retrieved August 2, 2015.

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• O'Rourke, Mike (February 11, 1997).. Brainerd Dispatch. Archived from on December 31, 2002. • Smetanka, Mary Jane (August 8, 2008).. Minneapolis Star Tribune. Retrieved September 5, 2008. • Roberts, Sam (September 5, 2015)..

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Pinkley (April 28, 2003).. Archived from on October 22, 2007. Retrieved February 28, 2011. 'Fargo Reaffirms Talents of Coen Brothers'. Asheville Citizen-Times (April 7, 1996), p. • ^ McMacken, Robin (May 9, 2004)... Retrieved February 22, 2008.

• Laura Randall (March 26, 2004)... Retrieved February 22, 2008. • Chris Hewitt (October 19, 2005)... Retrieved February 22, 2008.

• at • at • 'Memo to the Academy'. Siskel & Ebert. Aired on January 18, 1997. • Ebert, Roger (March 8, 1996).... Retrieved March 31, 2010.

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Retrieved June 20, 2014. Further reading [ ] •, ed. Cambridge University Press... A collection of scholarly essays by several authors about the film and related subjects. External links [ ] Wikiquote has quotations related to: • on • at • at • at •.