Elstree 1976

cdn.indiewire.psdops.comA friend of mine collects Star Wars action figures, including custom-made figures of the more obscure characters, and likes to have the figure “cards” signed by the actors who played the obscure characters. I was with him at a local convention when he got an autograph from a guy who played, I think, some Imperial commander (I’m sure he’ll correct me if I’m wrong). People like that actor are the focus of Elstree 1976, a documentary about the bit players, masked heavies, and helmet-wearers who added texture to the tapestry that was the first Star Wars film. Extras, of course, have been the subject of other projects, including Ricky Gervais’ show of the same name, but the extras from any Star Wars movie, it seems, have the edge over any other extra. Thirty years from now, nostalgic fortysomethings will stand in line to get autographs from the guy who played the stormtrooper who bled on Finn’s helmet in The Force Awakens.

A crowdfunded effort from director Jon Spira, Elstree 1976 is largely a matter of talking heads, some of whom are more interesting than others. Most of the budget probably went to the rights to use clips from Star Wars that illustrate where, exactly, in a crowded frame a particular X-Wing pilot is, a nonspeaking role whose portrayer dines out on it to this day. At least the X-Wing pilot had his face on camera. Many others didn’t, including Paul Blake as Greedo, the green goblin who infamously shot first in George Lucas’ 1997 second draft of the dust-up between him and Han Solo. (The clip used here is the “special edition” Greedo-shoots-first version. If you have no idea why that’s an issue with fans — and there’s no reason you should — Elstree 1976 might not be for you.)

Spira’s biggest “get” is David Prowse, who wore the helmet and cloak of Darth Vader (James Earl Jones provided the voice). Prowse could probably anchor a documentary of his own, since his odd career straddles many fandoms (he worked for Stanley Kubrick and Terry Gilliam, played the Monster in two Hammer Frankenstein films, and appeared on Doctor Who, Hitchhiker’s Guide to the Galaxy, and Benny Hill). Like all the others here, he seems amiably resigned to having Star Wars on his gravestone, though there’s apparently no love lost between him and Lucas. The second biggest name here is Jeremy Bulloch, the man under Boba Fett’s helmet (he’s the only one from The Empire Strikes Back, making his sections of the documentary Elstree 1979). Most of you would recognize neither man if you tripped over him, yet they both make a living from signing at conventions for starstruck acolytes.

A note of discord is struck when Angus MacInnes, probably the most steadily working bit player to come out of Star Wars, sends some darts of resentment towards those who work the autograph circuit without having received a screen credit for the film. (He played Gold Leader, in case you were curious; I wonder if my friend has his autograph.) Mostly, though, the folks in Elstree 1976 (including a lone woman, Pam Rose, who played an alien in the cantina scene) are friendly and grateful for the opportunities their glancing brush with film history has afforded them. They seem happy to bring some joy to fans, and I suppose it’s better to have been Third Rebel Soldier on the Right in Star Wars than to have been Third Civilian Casualty on the Left in Batman v Superman.

All these people are part of something larger than themselves, and so someone like Garrick Hagon (who played Luke Skywalker’s mostly-edited-out friend Biggs Darklighter) has something in common with, say, Harrison Ford, although Ford will never need to make ends meet by signing posters in hotel meeting rooms. None of them, including Ford probably, had any idea that the thing larger than themselves would become so large as to dominate multiple industries. But so it has, and so here we are, living in a Star Wars world where the already-hyped Rogue One: A Star Wars Story is coming this Christmas, and perhaps the extras in that film will want to have a long cold look at this documentary and their futures.

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