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I have left some info about Othello.Laurence Olivier's extravagant performance as the jealous Moor of Venice had its origins on stage at London's National Theatre; this 1965 film is a straight rendering of that production, shot on a soundstage with spare backdrops. However much the resulting artifact can actually be described as a film, one must feel gratitude just for the preservation of Olivier's pinwheeling turn. Yes, it's theatrical: the blackface make-up, the exotic gestures, the rumbly voice. Olivier doesn't connect organically with the character, but builds layer upon layer of effect until reaching critical mass; then his Othello explodes across the stage, keening in rage or flopping in agony. Before being encouraged to doubt his spotless wife Desdemona (Maggie Smith), Olivier's Moor flashes a broad grin that stands as a beacon of his shallow self-confidence; after the coin drops, his body hunches in misery. If Olivier dominates, this film nevertheless presents a marvelous Iago, by Frank Finlay, the evil engineer of the plot. It may just be Finlay's physical and vocal resemblance to comic Peter Cook, but he seems to embody the sarcasm and "sick" humor of the 1960s in his Iago--and his dry style is far more attuned to the movie camera than Olivier's. Olivier, Finlay, and Smith were all nominated for Oscars, as was Joyce Redman, as Iago's hapless lady. For a real shock, and a great lesson in Olivier's chameleon talent, watch Othello and then view the brief promotional film shot during filming, included on the DVD--you'll be astonished that the gray-haired gentleman, near sixty and with clunky eyeglasses, is the same volcanic performer that just erupted for 166 minutes on film. --Robert Horton

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I have left knowledge about Cowboy Bebop, 6th Session.The past comes back to haunt each of the characters in the sixth installment of the popular noir sci-fi adventure. In "Brain Scratch," Faye is drawn into an eerie cult that promises electronic immortality and an end to worldly cares. Director Shinichiro Watanabe juxtaposes flashy television graphics with gritty, gray reality, as Ed hacks a path to the truth. Next, Faye and Ed confront different yet linked pasts in "Hard Luck Woman." Ed (who turns out to be a girl) finds her long-lost father; Faye learns she can't go back to the world she knew before a devastating accident. The two-part epsiode "Real Folk Blues" returns to the saga of Julia, the woman Spike once loved, who appeared in "Jupiter Jazz" (episodes 12 and 13). The icy Vicious's attempt to take over the Red Dragon mob draws Spike and Julia into a deadly web of revenge.

"Real Folk Blues" marks the end of Cowboy Bebop, arguably the most stylish and sophisticated anime series in recent years. This last adventure will leave viewers with the same sense of loss they experienced when the first Star Wars trilogy ended. Although no further television episodes are planned, a feature is in the works. Fans can look forward to seeing their favorite Space Cowboy in the not-too-distant future.

Not rated: suitable for ages 13 and up for nudity, violence, adult situations, and unflattering ethnic characterizations. --Charles Solomon

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