Filmed as a classical tragedy, Orson Welles's Othello is a tale of passion, jealousy, and murder. Welles used his earnings from several performances to finance the production, which was shot over several years across multiple locations including Italy and Morocco. The footage was well matched photographically, resulting in an artistically brave compression of a great play. In the title role, Welles shows us a man who has fought many wars but still maintains a princely disposition. As Desdemona, Suzanne Cloutier is guileless but strong enough to have wanted and pursued the Moor. In a rare filmed role, Micheál MacLiammóir excels as the diabolical Iago, a master of manipulating appearances and devoid of any motive save pure evil. The financial constraints appear to have ignited an even higher level of creativity within Welles, who never takes the expected angle and directs the film with a vertiginous, exhibitionist energy. This Othello won the prestigious Palme d'Or at Cannes in April 1952. -Kevin Mulhall.

Presenting three of Ingmar Bergman's greatest films, The Bergman Classic Prepack includes The Virgin Spring, which brought Bergman his first Oscar®; The Seventh Seal starring Max von Sydow; and "one of the few great motion pictures of our time" (The New York Post), Wild Strawberries.

Shot in English and budgeted higher than any of his previous Asian features, Jackie Chan's last film under his Hong Kong contract is an action-packed globe-trotting adventure shot with the American audience in mind. The spies and secret agent-laden plot is packed with car chases, explosions, gunfire aplenty, and of course Jackie's own brand of gymnastic martial arts. But the flood of his older films between his hits Rumble in the Bronx and Rush Hour had sated American viewers and Who Am I? wound up being sold directly to cable. It's our loss, for this mix of goofy slapstick and jaw-dropping action is his most impressive film since Drunken Master II. Playing a special forces agent (named, naturally, Jackie) struck with amnesia and adopted by an African bush tribe following a failed assassination attempt, he embarks on a quest to discover his true identity while armies of killers pour after him. After an explosive opening, the story gets momentarily bogged down in the kind of mugging humor that leaves most American audiences scratching their heads, but once Jackie kicks into gear the film is a high-speed action flurry that culminates in a furious battle atop a Rotterdam skyscraper. Jackie is at his most charmingly naive (he berates the villains, pleading "Why do you want to destroy when you can make things better?") and athletically impressive: the marvelous stunts-including a flight down the side of the skyscraper-and fight choreography make Rush Hour look like a Sunday drive. -Sean Axmaker.

The second most-watched miniseries (after Roots) of all time, The Thorn Birds was originally broadcast in 1983 and captivated viewers with its story of a lifelong conflict between the spirit and the flesh. Adapted from the bestselling novel by Colleen McCullough, the production stars Richard Chamberlain as a Catholic priest named Ralph de Bricassart, whose life in Australia between 1920 and 1962 is one long torment as he pines for his lover, Meggie Cleary (Rachel Ward), while seeking advancement in his clergyman career. The passion and the guilt make for compelling drama, but a stellar cast of supporting players adds muscle to the proceedings: Barbara Stanwyck (who won an Emmy for her work as Meggie's tough aunt), Jean Simmons, Richard Kiley, Christopher Plummer, Bryan Brown, and Mare Winningham. Chamberlain, who was something of the king of the miniseries form at the time, is very good in the lead, as is the often-underrated Ward. Their affair is indeed irresistible to watch, which proves to be true, too, of the story's thick weave of church politics, forbidden desire, social change over decades, and family secrets. -Tom Keogh.