Elizabeth Taylor and Richard Burton star in this Academy Award-winning, epic retelling of the life and loves of the Egyptian queen. Desperate to hold onto her throne in the face of Roman expansion, Cleopatra (Taylor) employs all her charms in an attempt to secure an alliance with Julius Caesar (Rex Harrison). When Caesar is subsequently murdered, however, a vulnerable Cleopatra quickly turns her affections to popular Roman general Mark Antony (Burton). But although the relationship initially fares well, it's not long before the once proud general, now emasculated by the queen's charms, is reduced to a shadow of his former self that presages the doomed lovers' ultimate fate.

Supporting People with Dementia at Home details a groundbreaking study of an intensive care management scheme designed for older people with dementia that are at risk of entry into residential care. The authors use a quasi-experimental approach to compare how the individuals on the mental health team in one community were matched to a similar community without the service. They analyze the evidence focusing on the eventual placement of the individual suffering, the quality of care they receive, and also the needs of their carers. This book offers valuable evidence about the factors which can maximize the independence and well being of older people with dementia, from the perspective of older people and their carers. For those who commission services, it is highly relevant to service models for the National Dementia Strategy in England.

Supporting People with Dementia at Home details a groundbreaking study of an intensive care management scheme designed for older people with dementia that are at risk of entry into residential care. The authors use a quasi-experimental approach to compare how the individuals on the mental health team in one community were matched to a similar community without the service. They analyze the evidence focusing on the eventual placement of the individual suffering, the quality of care they receive, and also the needs of their carers. This book offers valuable evidence about the factors which can maximize the independence and well being of older people with dementia, from the perspective of older people and their carers. For those who commission services, it is highly relevant to service models for the National Dementia Strategy in England.

The fourth book in the Blue Door series, which starts with The Swish of the Curtain, the classic story which inspired actors from Maggie Smith to Eileen Atkins

'I wanted to act before I read this book, and afterwards there was no stopping me' Maggie Smith

During the afternoon rehearsal Mr Chubb poked his nose round the door and called out, 'You'd better be good this evening. Mrs Potter-Smith has just rung up and booked three seats.' They groaned expressively.

'Is that woman still alive?' demanded Maddy.

The Blue Door Theatre Company has finally been launched in Fenchester, and if they can manage the money worries, the temperamental heating and the rumours spread by their old enemy Mrs Potter-Smith, the young crew might actually make it a success - success that seems assured when an unexpected helper arrives.

But is Lucky everything he seems or is the brand-new Blue Door Theatre Company about to face its worst luck yet?

Box set featuring six Shakespeare adaptations starring legendary actor Laurence Olivier. In 'King Lear' (1983), the ageing King Lear (Olivier) decides to split his kingdom between three daughters - Regan, Cordelia and Goneril - with each receiving a share appropriate to the amount of love they feel for him. However, when the faithful Cordelia refuses to protest her devotion, an enraged Lear foolishly cedes complete control to the devious remaining siblings - with terrible results. In 'Henry V' (1944), the young king (Olivier) puts his rakish past behind him and rallies his men to invade France, winning against the enemy's superior numbers. The film was shot in Ireland to avoid the constant bombardment of the Blitz and Olivier was discharged from the Navy to make the film. In 'Hamlet' (1948), Hamlet (Olivier), Prince of Denmark, is still mourning over the death of his father and his mother Gertrude's (Eileen Herlie) subsequent remarriage to Hamlet's despised uncle, Claudius (Basil Sydney), who is now King. When his father's ghost appears to Hamlet and reveals that it was Claudius who murdered him, the young prince vows revenge. However, a fatal flaw in his character - hesitation - mars his efforts, resulting in murder, madness and treachery. In 'The Merchant of Venice' (1974), Jewish moneylender Shylock (Olivier) provides young Antonio (Anthony Nichols) with a loan, stating that if it is not repaid he will claim a pound of flesh. When Antonio's bond defaults, Shylock attempts to claim his grisly compensation in a court of law, but Portia (Joan Plowright) pleads Antonio's case. In 'Richard III' (1955), Olivier stars as the cold and calculating king, a treacherous and untrustworthy fellow who makes plans to kill anyone who threatens his position. Henry Stafford (Ralph Richardson), the Duke of Clarence (John Gielgud) and Lady Anne Neville (Claire Bloom) are just some of those moving in his orbit. 'As You Like It' (1936) was filmed in England in 1936 when Olivier was still considered a promising young actor rather than one of the finest thespians ever, as he would later become, this is his first filmed Shakespeare performance and thus a milestone in film history.

Collection of eleven classic films from influential filmmakers Michael Powell and Emeric Pressburger. 'The Battle of the River Plate' (1956) tells the true story of the famous 1939 naval battle. Hans Langsdorff (Peter Finch) is captaining the crack German battleship Graf Spee through the South Atlantic, unaware that a small number of lightweight British battle cruisers are hot on his trail. When the British cruisers manage to trap the powerful German ship in the Uruguayan harbour of Montevideo, they attempt to trick Langsdorff into believing that an entire battle fleet is waiting to destroy his vessel at sea. In 'A Canterbury Tale' (1944), a British sergeant, a land girl and a United States Army officer arrive at a Kent village on the same train. The newcomers are brought face to face with the bizarre menace causing bewilderment in the tight-knit community: someone is pouring glue onto the hair of girls who dare to venture out at night with visiting servicemen. Powell and Pressburger offered this 'propaganda' piece as their contribution to the war effort, but the authorities were unsure how its oddball tone would go down with the Allies. In '49th Parallel' (1941), Laurence Olivier and Leslie Howard are among the stars who try to prevent Nazi sailors, from a sunken U-Boat, reaching neutral USA through Canada in this classic war film, which was intended to persuade America to join World War II. Pressburger won an Academy Award for the story and the film was directed by Powell. In 'I Know Where I'm Going!' (1945), a woman (Wendy Hiller) has always known what she wanted in life, and now she is about to marry a millionaire. But when she ends up stranded on a Hebredian island due to a storm, she begins to see things a little differently. 'Ill Met By Moonlight' (1957) was the final film created by Powell and Pressburger together. Set on the island of Crete during the Nazi occupation, the film stars Dirk Bogarde and David Oxley as British officers assigned to kidnap the German commander-in-chief General Kreipe (Marius Goring) and spirit him back to Cairo. If successful, the morale of the Germans would be weakened and the resistance would be stronger. But once he is captured, the British officers have to get him past German patrols at almost every turning. In 'The Life and Death of Colonel Blimp' (1943), stuffy ex-soldier Clive Candy (Roger Livesey) recalls his career which began as a dashing officer in the Boer War. As a young man he lost the woman he loved (Deborah Kerr, who plays three roles) to a Prussian officer (Anton Walbrook), whom he fought in a duel only to become lifelong friends with. Candy cannot help but feel that his notions of honour and chivalry are out of place in modern warfare. The film's title comes from 'Evening Standard' cartoonist David Low's satirical comic creation, Colonel Blimp. In 'The Red Shoes' (1948), ballet impressario Boris Lermontov (Walbrook) hires up-and-coming ballerina Victoria Page (Moira Shearer) and talented young composer Julian Craster (Goring) to work with him on a new ballet, an adaptation of the Hans Christian Andersen story 'The Red Shoes'. The show is a great success and Victoria and Julian fall in love, but Boris is jealous and makes moves to spoil their happiness. 'A Matter of Life and Death' (1946) is a classic wartime propaganda movie, commissioned by the Ministry of Information, but turned into a fantastical allegory by the Archers, aka Powell and Pressburger. David Niven plays an RAF pilot who is ready to be picked up by the angels after bailing out of his plane. But an administrative error in Heaven leads to a temporary reprieve, during which he must prove his right to stay on Earth. A tribunal in heaven ensues to decide the case. In 'They're a Weird Mob' (1966), Nino Culotta (Walter Chiari) is an Italian immigrant who arrives in Australia with the promise of a job as a journalist on his cousin's magazine, only to find that when he gets there the magazine has folded, the cousin has done a runner and the money his cousin sent for the fare was borrowed from the daughter of the boss of a local construction firm. 'The Tales of Hoffman' (1951) is an adaptation of Jacques Offenbach's opera and follows Hoffman's (Robert Rounseville) tales of his love for the doll Olympia, the courtesan Giuletta (Ludmilla Tcherina) and the frail diva Antonia (Anne Ayars), and of how his quest for the eternal woman was always thwarted by evil. Finally, in 'Black Narcissus' (1946), a group of British nuns are sent into the Himalayas to set up a mission in what was once the harem's quarters of an ancient palace. The clear mountain air, the unfamiliar culture and the unbridled sensuality of a young prince (Sabu) and his beggar-girl lover (Jean Simmons) begin to play havoc with the nuns' long-suppressed emotions. Whilst the young Mother Superior, Sister Clodagh (Deborah Kerr), fights a losing battle for order, the jaunty David Farrar falls in love with her, sparking uncontrollable jealousy in another nun, Sister Ruth (Kathleen Byron).

'I wanted to act before I read this book, and afterwards there was no stopping me' Maggie Smith

'An enchanting book. A must for any child who wants to become an actor' Eileen Atkins

What starts as a diversion to stave off boredom during the Easter holidays soon becomes much more for the seven young members of the Blue Door Theatre Company. The four girls - Lyn, Sandra, Vikcy and Maddy - and three boys - Bulldog, Nigel and Jeremy - play every part in the theatre, not only onstage but off it too, producing everything from the scrips and sets to the music and costumes. They also learn that the show must go on, even in the face of their arch-enemy, Mrs Potter-Smith, local critic and leader of the Ladies' Institute.

And what a show it will be for them all...

The third book in the Blue Door series, which starts with The Swish of the Curtain

'I wanted to act before I read [The Swish of the Curtain], and afterwards there was no stopping me' Maggie Smith

'How do you think you'll like the Academy?'

Like it!' cried Lyn. 'I love it already. I'd not have missed it for the world. This has been the happiest day of my life.'

At the Actors' Guild in London, the Blue Door Theatre Company are throwing themselves into anything that will bring the dreams of their own theatre to life - touring the country with the Guild's summer productions, working behind the scenes at local theatrical companies, even taking walk-on parts between classes.

But just as plans for their own beloved Blue Door seem almost within their grasp, a disaster threatens to destroy one career for good...

'Mountains' of the Mind, is a detailed discussion of the motif's passage through the poetic of selected nineteenth century poets, including the symbology of its background. In terms of ambition and scope, the monograph displays a fine awareness of epistemology on many levels, drawing convincingly on resources from philosophy, psychology and aesthetics.

This book entails poems of frustration, intrigue- poems of humour, love and suffering the human race had, or is still going through.