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
211208@ pianku 营造了欢乐祥和的圣诞氛围？
妈妈给同性恋儿子介绍男朋友，一家人又撮合儿子和男闺蜜在一起的故事。那个打酱油的医生真帅。
到底还是印证了那句老话，能成为密友大概总带着爱。
非常难看，完全冲着Luke的脸坚持下来的！
How could Michael Urie not age for all these years?!
就是聖誕佳節愛情喜劇呀甜到我都要蛀牙了, 麥可優莉還是很可愛呀醜女貝蒂都變懷舊美劇了, 倒是新認識的福里萌真是可愛到不像話耶但才27歲喔//喜歡這種沒有硬要說什麼大道理, 認認真真給你一個空洞的美好幻夢的感覺祝大家聖誕快樂囉
把老剧情里的男女换成男男重拍一遍，没什么新意。
社会真的在进步 俗套电影的剧情从男txl找女闺蜜骗父母然后在一起变成了男txl找男闺蜜骗父母然后在一起
糟心的日子里需要更多这样的电影&剧集 (Luke call me
离谱的剧情 看到男主家人不断给男主洗脑他应该和室友在一起我就已经弃了 这啥呀这是 集体PUA吗
超高质量爽琴侠代餐👍槽点一箩筐 我都懒得说了 合家欢电影看个乐呵儿就行吧 懒得较真儿了 本来想给个6分及格分 但是它作为代餐实在是太香了 7分吧 其实和love actually完全是一个级别的除了love actually有全明星阵容 不懂为啥love actually分那么高（love actually真的很一般😤）。而且和去年小K那个《最幸福的季节》感觉几乎就是一个公式套出来的 政治正确也年底冲kpi吗😅算了 合家欢 乐呵就完了
好朋友能不能谈恋爱的故事。暗恋过好友的人应该都有过这种担忧，如果谈恋爱又分手了就连朋友都做不了，所以不要表达爱意是好的选择，可以始终拥有一个好朋友。大概就是这个剧情，放在了圣诞节的氛围，于是全家人都成了助攻，甚至相亲对象也帮上了忙。不好不坏，但每一个情节都在铺垫他们最后一定会在一起这个事情，没有太多惊喜。
圣诞将至，温情的主流同志romcom。没有悲催童年、自我摧残、家庭斗争… 爱上了就因为你值得。
“我们要先做5年好友，再好好谈场恋爱。”
虽说笑点都在预告里，剧情都在简介里，但是3个可人儿和苏菲偶尔出来搞笑还是让影片不至于那么无聊，黑人小哥还意外的挺顺眼。感慨下俺们同志都是surviver，各各身怀绝技努力健身修图提升颜值，恋爱关系也懂得内部消化能麻烦好朋友的事儿绝不blind date，还不希望家人操心，偶尔还要帮修水管修灯哄孩子搭棚教台词被侄女氪CP。请珍爱每一个身边的GAY吧，我们上辈子素天使惹。PS：以后请多出这种齁甜的HE同影，活到现在已经不想看苦大仇深断背山了
人设和故事那么浪漫的James&Peter be，突然和jm搞上，not convincing
老套的圣诞爱情故事，Nick我真的好想占有他，太完美了
2.5🌟给曾经丑女贝蒂里可爱的“毒舌”GAY和圣诞气氛。男主老了呀！圣诞合家欢电影，但剧情太无趣，两人完全不来电就是朋友。
太圆满了 开心！
只能说除了男主都很hot lol/ 不太懂为什么前几年不撮合，健身教练出现了就开始硬撮了
Copyright © 2015-2023 All Rights Reserved
