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Patton (1970)
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| The story of General George S. Patton, Jr. during World War II. His battlefield genius garners him fear and respect from the Germans, and resentment and misunderstanding from the Allies. A military historian and poet, he believes he was a warrior in many past lives, and that he is destined for something great during this life, but his stubbornness and controversial methods nearly prevent the fulfillment of that destiny.
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Rejs (1970)
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| Rejs is considered as a masterpiece by many and as the earliest cult film in Polish cinema. Shot in a quasi-documentary style, with a cast featuring not more than two or three professional actors, the absurd plot parodies life in the People's Republic of Poland, reducing a weekend river cruise to a hilarious parody of the entire communist system.
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Topo, El (1970)
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| The gunfighter El Topo (The Mole) and his young son ride through a desert to a village, whose inhabitants have been massacred. Bandits are nearby, torturing and killing the survivors. El Topo rescues a woman (Mara), who leads him on a mission to find and defeat the four master gunmen of the desert. Leaving his son with a group of monks, El Topo and Mara complete the mission, accompanied by a mysterious woman in black. The women leave El Topo wounded in the desert, where he is found by a clan of deformed people who take him to the remote cavern where they live. Awakening years later, he goes with a dwarf woman to a nearby town, promising to dig a tunnel through which the cave-dwellers can escape. They find the town run by a vicious sheriff and home to a bizarre religious cult. El Topo's son, now a man, is a monk in the town. The completion of the tunnel leads El Topo, the townspeople, and the cave-dwellers to a bloody and tragic end.
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Clockwork Orange, A (1971)
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| Stomping, whomping, stealing, singing, tap-dancing, violating. Derby-topped teddy-boy hooligan Alex (Malcolm McDowell) has his own way of having a good time. He has it at the tragic expense of others. Alex's journey from amoral punk to brainwashed proper citizen forms the dynamic arc of Stanley Kubrick's future-shock vision of Anthony Burgess' novel.
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Harold and Maude (1971)
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| Harold is a depressed, death-obsessed 20-year-old man-child who spends his free time attending funerals and committing suicide in front of his mother, but he does not die. At a funeral, Harold befriends Maude, a 79-year-old woman who has a zest for life. She and Harold spend much time together during which she exposes him to the wonders and possibilities of life. After rejecting his mother's three attempts to set him up with a potential wife, and committing fake suicide in front of all of them, Harold announces that he is to be married to Maude. However, Maude has a surprise for Harold that is to change his life forever.
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James Bond 007 - Diamonds Are Forever (1971)
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| After traveling the world in his quest to kill Blofeld, Bond returns triumphant, only to discover a case waiting for him: a large amount of diamonds has been stolen from the South african mines and two offbeat assassins are killing everyone in the smuggling ring one-by-one. Bond goes undercover as Peter Franks, diamond smuggler.What he discovers shocks him: the head of the smuggling ring is none other than Ernst Stavros Blofeld! Now, Bond must resist the wiles of a beautiful smuggler and survive the machinations of Mr. Wint and Mr. Kidd, Blofeld's two best assassins so that he can uncover Blofeld's sinister plot.
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Straw Dogs (1971)
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| Based on a little-known British novel, "Straw Dogs" casts Dustin Hoffman as a bookish American mathematician on sabbatical in rural England, in the town where his young bride (Susan George) grew up. He finds himself forced to defend his home against an assault by local toughs, and discovers a frighteningly feral and vicious side to himself. Though Straw Dogs has a reputation for graphic violence, it actually looks tame by contemporary standards. Instead, the violence is psychological, and the suspense and shocks are induced by the editing--you're more terrified by what you think you see than by what you are actually shown.
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French Connection, The (1971)
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| The French Connection transformed the crime thriller with its gritty, authentic story about New York City police detectives on the trail of a large shipment of heroin. Based on an actual police case and the illustrious career of New York cop Eddie Egan, the film stars Gene Hackman as Jimmy "Popeye" Doyle, whose unorthodox methods of crime fighting are anything but diplomatic. With his partner (Roy Scheider), Popeye investigates the international shipment of heroin masterminded by the suave Frenchman (Fernando Rey) who eludes Popeye throughout an escalating series of pursuits. The obsessive tension of Doyle's investigation reaches peak intensity during the film's breathtaking car chase, in which Doyle races under New York's elevated train tracks in a borrowed sedan--a sequence that earned an Oscar for editing and was instantly hailed as one of the greatest chase scenes ever filmed.
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Cabaret (1972)
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Sally Bowles, a singer at the Kit Kat Klub, is an American caught up in the faux-glamour of prewar Berlin. Although Sally giddily ignores the decadence that has begun to permeate every aspect of society, her Jewish friend Natasha cannot; Natasha constantly faces persecution by Nazi authorities, and her lover has entirely hidden his Jewish identity.
But Sally continues to bury herself in her own problems: in addition to the difficulties of sharing her bisexual English lover with a wealthy German homosexual, she keeps getting more and more drawn in by the sleazy and sinister atmosphere of the Kit Kat Klub.
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Godfather, The (1972)
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The first part of Francis Ford Coppola's multi-Oscar winning Godfather trilogy, adapted from Mario Puzo's novel examining the workings of the Mafia from the perspective of one family. With a cast of relative unknowns at the time: Al Pacino, James Caan, Robert Duvall and Diane Keaton and a known risk: Marlon Brando, Coppola managed to construct a masterpiece that perfectly depicted the Mafia lifestyle without glamorising it.
The rise of the young Michael Corleone, who is slowly forced to take control of the 'family business', is a powerful and terrifying study of moral decay, political corruption and the breakdown of the family unit. Pacino gives a performance that literally sucks the audience in and slowly reveals the personal horror of the American-dream gone bad.
From the opening wedding scene to a severed horse's head in a Hollywood movie-mogul's bed and exile in peasant Sicily, the arc of the film is as grand, beautiful and dramatic as an opera. The exquisitely designed scenes, haunting musical score and superlative cast cement The Godfather in film history as one of the greatest films ever made.
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