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Richard Sarafian directed this minimalist chase film, starring Barry Newman as ex-marine, ex-race car driver and cop named Kowalski. He drives into Denver to deliver a car and pick up another vehicle to drive to San Francisco. To make the fifteen-hour drive to San Francisco bearable he pops a load of pep pills and drives off. Almost immediately, he is told to pull over by the police, but Kowalski refuses to stop. Ignoring the cops, a police chase ensues. Egging Kowalski on is a blind black disc jockey, Super Soul (Cleavon Little), who announces his comings and goings on his local radio show, praising Kowalski to the skies as “the last American to whom speed means freedom of the soul.” Super Soul’s hype makes Kowalski a media sensation and Kowalski fans mount up — as do the police cars chasing him — as he races against time to deliver both the car and himself to his San Francisco destination.

In this violent, grim thriller, a baby-sitter’s routine job turns out to be anything but when she and her young charge are terrorized by an escaped mental patient who bursts in and holds them hostage. He claims to be the three-year-old boy’s father and has come to murder his ex-wife. Meanwhile to stall for time until the cops can save them, the baby-sitter seduces the fugitive father. A deadly stand-off ensues when the cops finally surround the place and he begins threatening to slice the throats of the girl and his son.

Roman Polanski’s version of Shakespeare’s tragedy about a Scottish lord who murders the king and ascends the throne. His wife then begins hallucinating as a result of her guilt complex and the dead king’s son conspires to attack MacBeth and expose him for the murderer he is.

Horror thriller set in 17th century England about the children of a village slowly converting into a coven of devil worshipers.

Escape From the Planet of the Apes is the third in the series of films based upon the Planet of the Apes characters created by novelist Pierre Boulle. At the end of the second film, the centuries-in-the-future world colonized by simians was destroyed, but apes Cornelius (Roddy McDowall) and Zira (Kim Hunter) were able to escape in the space vessel left behind by 20th century astronaut George Taylor (Charlton Heston). Cornelius and Zira pass through another time warp, finding themselves in the Earth of the 1970s. When they reveal their ability to speak, the apes are first treated as curiosities, then as threats when the government, believing the story that the Earth will eventually be inherited by monkeys, tries to prevent the birth of Zira’s baby. They are ultimately given shelter by sympathetic circus owner Armando (Ricardo Montalban). This film was followed by the fourth “Apes” entry, 1972’s Conquest of the Planet of the Apes.

This breathlessly paced high-tech thriller stars Sean Connery as Anderson, a career criminal who’s just been released from his latest prison term. Seeking a quick financial turnover, Anderson uses mob funding to finance an ambitious robbery. With a gang of expert thieves, Anderson sets about to rob every wealthy tenant of a fancy East Side apartment building. What he doesn’t know is that every move he makes is being monitored and taped by several law-enforcement agencies, who hope that Anderson will lead them to the Mob kingpins. Though the film may look like a “comment” on the Watergate break-in, The Anderson Tapes actually preceded that third-rate burglary by nearly two years. The Anderson Tapes boasts an impressive supporting cast, many of whom play wildly against type, including Alan King as an aging and infirm Mafia don.

Sam Peckinpah examines the instinctual capacity for violence in his controversial 1971 film, loosely based on the novel The Siege of Trencher’s Farm. To avoid the Vietnam-era social chaos in the U.S., American mathematician David Sumner (Dustin Hoffman) moves with his British wife Amy (Susan George) to the isolated Cornish town where she grew up, but their presence provokes antagonism among the village’s men. As the hostilities escalate from routine bullying to the gang rape of his wife, David finds his pacifistic self backed into a corner. When the hooligans attack his house, David finally resorts to the gruesome violence that he abhors.

A group of adolescent boys, placed in a summer camp by their otherwise too busy parents, find themselves unable to fit in and are soon branded as bedwetters by their fellow campers and unsympathetic counselor. After their counselor exposes them to what they perceive as a cruel slaughter of corralled bison, these misfits are soon drawn to a common purpose to break free of their camp and free the bison. On their way to free the bison, individual flashbacks reveal the relationships each has with his own family and give insight to their reasons behind wanting to set the bison free. Karen and Richard Carpenter’s singing of the title song occurs now and again throughout the movie to underscore the the drama.

An excellent musical score by the Bee Gees adds appeal to this curious little movie about two ten-year olds, Daniel and Melody (Mark Lester and Tracy Hyde) who are completely taken with each other and announce to their parents, in all seriousness, that they plan to get married. This marriage is not planned for the distant future, but as soon as possible. The uproar that is caused when their seriousness becomes clear is not too surprising. Their best friend Ornshaw (Jack Wild) is not too thrilled with their plan either. What makes the film work is that the entire story is told from the children’s point of view in which the grownups’ objections, since they have no relation to the truth of what the children are feeling, come across as silly or inconsequential. This film is a reunion of sorts for Oscar-winning Oliver! co-stars Mark Lester and Jack Wild

The first part of his “paranoia trilogy,” Alan J. Pakula’s 1971 thriller details the troubled life of a Manhattan prostitute stalked by one of her tricks. Investigating the disappearance of his friend Tom Gruneman (Robert Milli), rural Pennsylvania private eye John Klute (Donald Sutherland) follows a lead provided by Gruneman’s associate Peter Cable (Charles Cioffi) to seek out a call girl who Gruneman knew in New York City. The call girl is Bree Daniels (Jane Fonda), an aspiring actress who turns tricks for the cash and to be free of emotional bondage. Klute follows Bree’s every move, observing the city’s decadence and her isolation, eventually contacting her about Gruneman. Bree claims not to know Gruneman, but she does reveal that she has received threats from a john. As Bree becomes involved in Klute’s search and realizes that she is in danger, she reluctantly falls in love with Klute, despite her wish to remain unattached to any man. When she finally comes face to face with the killer, however, she is forced to reconsider her detached urban life.

Norman Jewison’s adaptation of the long-running Broadway musical is set in the Ukranian ghetto village of Anatevka (the film was actually lensed in Yugoslavia). Israeli actor Topol repeats his London stage role as Tevye the milkman, whose equilibrium is constantly being challenged by his poverty, the prejudicial attitudes of non-Jews, and the romantic entanglements of his five daughters. Whenever the weight of the world becomes too much for him, Tevye carries on lengthy conversations with God, who does not answer but is at least more willing to listen than the milkman’s remonstrative wife Golde. After arranging a marriage between his oldest daughter Tzeitel and wealthy butcher Lazar Wolf, Tevye is forced to do some quick rearranging when the girl falls in love with poor tailor Motel Kamzoil. Fancying himself more broad-minded than his gentile oppressors, Tevye cannot accept the notion that his other daughter Chava would want to marry Fyedka, a non-Jew. And after shouting the praises of “tradition,” Tevye must change his tune-and his entire life-when he and his neighbors are forced out of Anatevka by the Czar’s minions. Topol’s co-stars include Norma Crane as Golde, Yiddish theater legend Molly Picon as Yente the matchmaker, and Leonard Frey as Motel.

Bedknobs and Broomsticks was produced several years after Walt Disney’s death and released in the fall of 1971. As it turned out, Bedknobs was frequently compared to Mary Poppins — probably thanks to several striking similarities between the two productions, notably the presence in the cast of David Tomlinson, the use of two cockney children as central characters, and the inclusion of sequences that combine animation and live-action. Set in wartime England, Bedknobs stars Angela Lansbury as Eglantine Price, a would-be witch who hopes to use her newly acquired conjuring powers to forestall a Nazi invasion. Saddled with three surly kids who’ve been evacuated from London, Lansbury wins over her charges by performing various and sundry feats of magic. And, yes, she manages to foil a few Germans along the way. The film’s most famous episode is an elaborate undersea fantasy, which combines animation with live-action on a gargantuan scale, dwarfing all previous Disney sequences along these lines.

Driving down a deserted Southern California highway at a safe and sane 55 miles per hour, David Mann (Dennis Weaver) steps on the pedal to pass a large gas trailer truck. Moments later, the truck is back, dangerously tailgating Mann before abruptly cutting him off. For the next 90 minutes, Mann and the never-seen truckdriver are pitted against one another in a motorized duel to the death. Author Richard Matheson conceived Duel after a similar experience with a reckless trucker. The story first appeared in Playboy magazine, then was picked up for adaptation by the producers of The ABC Movie of the Week. The director chosen to helm Duel on location in Soledad Canyon was a bright 23-year-old who’d shown promise on such series as Night Gallery and Columbo: Steven Spielberg. First telecast on December 18, 1971, Duel was so popular that a somewhat longer version (with added violence and profanity) was prepared for theatrical release in 1983.