Sci-fi horror film based on the novel by John Lymington, starring Christopher Lee and Peter Cushing. When a freak heatwave sends the temperature soaring on the remote island of Fara, the locals, including Dr Vernon Stone (Cushing) and novelist Jeffrey Callum (Patrick Allen), are left dazed by the rising temperature. When Callum is reunited with his former mistress Angela Roberts (Jane Merrow), the atmosphere becomes even more tense. It is left to Godfrey Hanson (Lee), a visitor to the island, to solve the mystery of the deadly soaring temperatures.

Eleventh entry in the 'Carry On' series. Marshall P. Knutt (Jim Dale), a former sanitary engineer, becomes the sheriff of Stodge City in the Wild West and must help a young woman beat the Rumpo Kid (Sid James), the outlaw who shot her father. Those getting off their horses and drinking their milk include Kenneth Williams, Charles Hawtrey, Joan Sims and Bernard Bresslaw (making his 'Carry On' debut).

Classic Ealing comedy starring Alec Guinness. Captain Ambrose (Guinness) has a problem - a serious problem. Despite being descended from a famous seafaring family, he struggles on board ship because of chronic seasickness. At the end of the war, he decides to quit the waves and take a shore command. Buying the amusement arcade on the pier at Sandcastle-On-Sea, he looks for a calm life. But even on shore, he finds the waters rough. Opposition comes in the form of the local town council, which decides that all forms of gambling should be banned. From then on, Captain Ambrose faces stormy seas and all is definitely not plain sailing.

Four films from the classic 'Carry On' series. In 'Carry On Spying' (1964), Barbara Windsor (in her first 'Carry On' appearance) plays a trainee spy in the British Secret Service, who must use all her talents to prevent an evil mastermind from the organisation S.T.E.N.C.H. obtaining a secret formula. Master spies on the case include Kenneth Williams, Charles Hawtrey and Bernard Cribbins. In 'Carry On Cleo' (1965), ancient British slaves save Caesar (Williams) from assassination in Rome, 50 B.C. Meanwhile, Mark Antony (Sid James) romances Egyptian Empress Cleopatra (Amanda Barrie). In 'Carry On Screaming' (1966), detective Bung (Harry H. Corbett) investigates a mad professor (Williams) and his sister, who are turning their victims into shop window dummies. Finally, in 'Carry On Cowboy' (1965), Marshall P. Knutt (Jim Dale), a former sanitary engineer, becomes the sheriff of Stodge City in the Wild West and must help a young woman beat the Rumpo Kid (James), the outlaw who shot her father.

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Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: CHAPTER II. EDMUND SPENSER; GILES AND PHINEAS FLETCHER. AMONG the mystical poets of the English Church place must be found for EDMUND SPENSER, not as the writer of The Faerie Queene, but as the hymnodist of Heavenly Love and Beauty. The Paerie Queene is an allegory, which we read for the noble ethical qualities there personified with an unfailing opulence of music and colour. But allegory and personification are not mysticism: they are not, strictly speaking, Platonism, and it is as a Platonic idealist that Spenser must be considered here. The Renaissance had, as its most important result, the re-introduction of Plato to the intellectual world, and Spenser was the first of our poets to expound that philosopher's views on Love and Beauty.1 Platonic Idealism, though not in a strict sense mysticism, is closely akin to it; indeed, Dr. Inge has told us that Plato is " the father of European mysticism." Platonism may be described briefly as the love of the invisible and eternal inspired, sustained, and heightened by contemplating the beauty of the visible and the temporal. The locus classicus of the doctrine of Platonic love is the passage in the Symposium (203A, seq in which the Man- tinean prophetess is represented as explaining the origin and meaning of Love. It is there urged that " the right procedure in the matter of Love is to begin with earthly beautiesand to ascend towards that which is Beauty itself, using the former as steps, and from the love of one form to go on to that of two, from two to all beautiful forms, from beautiful forms to beautiful practices, from beautiful practices to beautiful notions, until from beautiful notions the notion of Absolute Beauty is reached, in the knowledge and contemplation of which final satisfaction may be found ." 1 Some of the ...