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  • The Passion Of Joan Of Arc (1928)

    Shot primarily in disorienting close-up, Carl Dreyer's silent masterpiece renders Joan Of Arc's persecution with terrifying intensity.

  • The Seventh Seal (1957)

    As a medieval knight in the Ingmar Bergman standard, Max von Sydow plays chess with Death, though Parcheesi would have been more advisable.

  • A Man For All Seasons (1966)

    Paul Scofield won the Oscar for Best Enunciation for his work as Sir Thomas More, the English chancellor who refused to sign King Henry VIII’s request to annul his marriage to Catherine Of Aragon.

  • Excalibur (1981)

    It's King Arthur by way of Carl Jung in this sex- and symbolism-drenched tale of Camelot from director John Boorman.

  • The Name Of The Rose (1986)

    Umberto Eco's medieval mystery gets a decent, if dumbed-down, interpretation starring Sean Connery and a young Christian Slater.

  • King Arthur (2004)

    An attempt to rescue Arthurian adventure from sorcery and myth, and return the legend to its historical roots sounds like a great idea. One problem: “Produced by Jerry Bruckheimer.”

  • The Adventures Of Robin Hood (1938)

    Errol Flynn delivers the definitive interpretation of the he-robs-from-the-rich hero in this high-spirited, tights-filled Technicolor adventure.

  • El Cid (1961)

    Director Anthony Mann and star Charlton Heston give the '60s epic treatment to the 11th-century Spanish hero. Even his corpse commanded respect.

  • Monty Python And The Holy Grail (1975)

    Funny thing about Monty Python's send-up of Arthurian legends: The troupe's history major took great pains to get the historical details right, making it far more accurate than more serious films. Except for the Holy Hand Grenade. That's just silly.

  • The Return Of Martin Guerre (1982)

    Gérard Depardieu usurps the identity of a fallen soldier and returns “home” to his life in a film that inspired a remake (Sommersby) and The Simpsons episode featuring “Armin Tamzarian.”

  • Black Knight (2001)

    Theme-park employee Martin Lawrence is magically transported to England in the 1300s, where the words “Florence” and “Normandie” mean different things than they do in ‘00s Los Angeles.