As Star Wars has expanded into a massive global phenomenon over the years, it is simple to overlook the franchise’s (relatively) modest beginnings. Although labeling the original Star Wars as an “independent film” isn’t entirely accurate—since 20th Century Fox, a major studio, distributed it—George Lucas personally financed a large portion of the 1977 movie (later subtitled A New Hope). To maintain a relatively constrained $11 million budget, he employed matte paintings, miniatures, and props recycled from other productions. How was this accomplished? Partly by applying the knowledge gained from his debut feature, THX 1138.
While THX 1138 is also a work of science fiction, it differs significantly from Star Wars. Rather than a high-energy space opera, this film, which relies heavily on dialogue, adopts a more intellectual and philosophical stance toward the genre. “The concept was to push the boundaries of comprehensibility and present the film as if it were from an alien culture that had arrived in 1970,” sound designer and co-screenwriter Walter Murch explained to Indiewire.
Our protagonist, portrayed by the late and renowned Robert Duvall, is identified by the prefix “THX,” pronounced “Tex.” He lacks a formal name and is known only by the badge number (1138) he constantly wears. The narrative is set in a future obsessed with efficiency where emotions are prohibited, and the populace is maintained on a rigid schedule of narcotics intended to ensure maximum compliance. The setting is highly reminiscent of 1984, though Lucas was slightly mistaken in predicting that the state, rather than corporations, would be the entity numbing the public with slogans such as “buy, and be happy.”
In this bleak future dystopia, failing to take one’s pills—which come in various shapes, sizes, and colors—could trigger a “serious chemical imbalance” in a productive citizen. In this context, that essentially means becoming aware of the void in a life dedicated solely to labor and consumption, a realization THX 1138 reaches early in the story. Subsequently, he falls in love with his roommate, LUH 3417 (Maggie McOmie), an act that is strictly forbidden. This romance sets off a chain of events culminating in THX’s arrest and his eventual flight from the totalitarian world he inhabits.
The impersonal chill of this state-sponsored religion is perfectly evoked as characters “confess” to OMM in sparsely designed booths that combine a static photograph with an audio recording. This exemplifies the film’s minimalist aesthetic: the most intense scenes in THX 1138 unfold in industrial corridors and stark white rooms devoid of set dressing, creating a sterile and claustrophobic environment where personal belongings and hobbies are banned. The costumes, makeup, and hairstyles are equally understated: the entire cast wears identical white jumpsuits and was required to shave their heads for the production, a process detailed in the behind-the-scenes documentary Bald: The Making of THX 1138.
These economical measures—somewhat ironic considering the film’s subject matter—are juxtaposed with a few spectacular shots utilizing miniatures and matte paintings. Both are relatively cost-effective practical effects used to broaden the scope of the film’s universe. This blend of ingenious solutions and artisanal detail connects THX 1138 to Star Wars: A New Hope in terms of both technique and style. For instance, the expendable police officers patrolling the city in THX are clad in 1960s-style leather police uniforms and rigid, gleaming silver masks. Visually, they occupy a space midway between a 3PO droid and a Stormtrooper, and the techniques employed to fabricate them were largely identical.
THX 1138 contains other allusions to Lucas’ most famous work, such as the utilization of holograms for communication and amusement. Additionally, there is a line of dialogue in which one of the film’s faceless robotic police officers remarks, “I think I ran over a Wookiee back there on the expressway.” However, the most significant outcome was that directing this film taught George Lucas how to be resourceful. This experience enabled him to eventually transform a modestly budgeted sci-fi homage into one of the most significant and impactful film franchises in history.
Naturally, this is all viewed with the benefit of hindsight. Upon its release in 1971, THX 1138 was regarded as an ambitious failure, receiving lackluster reviews and performing poorly at the box office. Warner Bros. was so dissatisfied with the film that it canceled its agreement with American Zoetrope and insisted that Coppola reimburse the funds the studio had already committed to upcoming projects. This left Coppola with a debt of $400,000, compelling him to accept the directing job for The Godfather. As for Lucas, he stepped away from science fiction following THX 1138 to direct American Graffiti, allowing him to experience commercial success. However, owing to the experience gained on his debut feature, when he eventually returned to the genre, the outcome would captivate the imaginations of millions across the globe.