Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.
The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).
The title music sets the tone: a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.
The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.
Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.
Roger Philip Mellor
被骗了。光顾记屏幕右上角出现的角色就花费了大量精力。有人坦诚相告，也有人仍在撒谎。
哇哦，又古早又狗血。。。还是西班牙厉害这氛围这打光
富二代竟然还蹭网？bd无情却爱上？莫名其妙！女主简直就是私生饭偷窥狂，卖肉不如黑帮大佬。纯看颜。
过程中居然联想到《驾驶我的车》，有些症结真的需要所有人都帮你一把才能逐渐解开
土狗电影哈哈哈哈哈……就这能拍一小时五十三分钟😹
全程靠男女主颜值撑下来的，咱就是说也不知道讲了个啥，不能以严肃论调看这里的情情爱爱，只能说爽了就好
预告一瞟故事好，糖精放了一大包。
基本上就是总集篇吧，虽然一开始就料到…………就当是回顾总结了，新内容也没啥。
一家三兄弟，弟弟长得太像 Lando Norris 以至于我一直出戏！哥哥长得又比男主好看！算了反正当西语版 After 看的，我觉得比 After 好（ntm
真难看啊 以为青春爱情大尺度 结果一个都没有！
好喜欢hiking那段外景两人初次见面的coffee shop talking，当然还有“my daughter is dating a doctor”的医院桥段
设定好弱智，男主的大豪宅难道连一个能用的wifi也没有吗？半夜拿着电脑在女主家蹭网是不是有哪个大病？男主只有装逼没有苏，看了开头就劝退，这剧本是初中生写的吗？
没看过动画的不建议看！剪的太碎，会跟不上故事节奏。就是个総集編，新的故事就最后10分钟。选在愚人节上真是选对了🙃
简单来说就是一个he全家桶，顺便甜妹是真的很甜。看完了让人沉浸在这种轻松的调子里大概是不错的收获。让我继续我的苦差。
妈的看完这个电影回头想想Killing Eve的直女编剧对LGBTQ人群可能确实很有恶意，所以才安排了个那么恶心的结局。傻白甜喜剧，看个高兴，百合线相当不错。
补完了心心念念的结局，这种结局好不好就见仁见智了，许多线索留在入场特典实在有点欺负人。用调查视角补全信息的确不错，但总集的内容太多了，对看过TV的人来说比较冗长，而这些内容对没看过TV的人来说又无法代替完整TV版带来的体验，显得受众定位有点模糊。
he！男主吼帅！没想到最喜欢的是最后的片尾动画。感觉真爱永远逃脱不了现实。
男主真的好帅 我疯了我疯了我疯了 太帅了呜呜呜呜呜呜呜呜呜呜狠狠爱寸头帅哥呜呜呜呜呜呜呜呜呜呜呜呜呜呜帅晕
太难看了，女主无限舔，男主无限作，后面在一起，男主为了留下来自己打工，我感觉在看古早言情合集。。。饶了我吧。我只想看充满青春气息的校园恋爱剧。
总集剧场版，补完最终结局。直接从1小时59分钟看就可以了。黑色童话论的都可以散了，最后片尾曲有人物情况补完。只有看过TV版才看的明白，直接看剧场版鬼才看得明白，因为时间问题已经剪得老粉都快不认识了。
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