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
编剧如果都按这种方式撰写人物小传何愁不出精品
情感线处理悬疑点就好了，不至于显得温吞。丘吉尔扮演者没选好，毫无气场，被《至暗时刻》中的丘吉尔甩了几十条街。真实事件更精彩。6.3/1877 短评727条 %31/54/15 【IMDb6.7/5700 全球票房784.29万美元】
1.奇怪的三角恋
所有伟大的胜利后面都有这样无数的平凡的个人牺牲了自己的生活，贡献着自己的光和热……而他们可能永远也不会被人知道被人感谢或被人铭记……谁说站在光里的才是英雄～
不错的电影 节奏紧凑 战争的残酷 血的代价无法避免 及时情报部门在背后翻云覆雨 虽然是小三 但男女主的爱情 点到即止 女主离开去实现自我价值 为国家尽一份力
其实除了暗杀的中二元素以外，就是两个性格缺陷的社会边缘人想要融入社会屡遭挫折，友情也遭遇小波折最后重归于好的故事。
二战史上盟军登陆西西里岛开辟第二战场是纳粹的转折，而其中以尸体携带假情报的手段骗德国人很传奇，但本片不能作为历史战争片来看，整体商业化太明显，节奏太快了，人物的出场感觉像在跑步，交代的历史背景也比较匆忙。大量的篇幅虽然花在编造尸体假身份过程上，但是把人物们搞得入戏太深就是侮辱了谍报人员的素质，甚至于还搞出了科叔与美女情报员婚外恋的狗血桥段，再夹杂一些意识形态情节更让全片的段位降低。真正应该大书特书的尸体运送到发现尸体再到假情报生效过程相对比较粗糙简单，除了验尸官的换人有点紧张气氛外几乎都是平铺直叙方式，完全感受不到那种瞒天过海的巧妙和智慧。唯一的笑点是那个大英帝国驻西班牙大使为了送出假情报居然让德国人搞基，为国奉献真不是一句话的事情。整体来说表现一般，科叔怎么看怎么还在王牌特工里面无法自拔。
短而精吧，小成本做的挺好，反差萌，两个不同性格的女孩的友谊线也整挺好，最后愿意住一起也让人会心一笑吧。
向在至暗時刻堅持戰鬥的人們致敬。人類定會戰勝邪惡力量走向光明。
看个乐，日式中二剧情，主角两个妹子是杀手，短发妹试图打工融入社会但是比较困难，长发妹在女仆店打工，boss是黑道，这里面所有角色多少带点大病hhh其实就两个妹子的友情来说感觉还挺日常的？杀人桥段还算比较利落
怎么说呢，一定是没有原型故事完整、精彩的。纯正的英伦风格，强调“每个人都有属于自己的战争”，可以说是发挥稳定
世界上最大的谎言就是你不行。好久没看过这么励志的电影了，结局也特别温馨
“马丁少校”拯救了作为西西里岛登陆的第一批士兵的他的照片替身，这个安排很史诗。“马丁少校”的姐姐来认领尸体，最后墓碑加的那句话，个人与国家的利益都应该被尊重
算是把能数得上的明星全都笼络来 来纪念往日的荣光 比猴都精明的英国人在肉馅计划中把德国人玩的团团转 不可为不经典 但电影拍的太过沉闷 又想当传记历史一样严肃认真 又想在角色上表达英国人对自己聪明绝顶精明强干又温文尔雅风度翩翩的绅士形象加以自我欣赏 略微少了些娱乐和商业性 甚至在英国本国的票房成绩都不是特别理想
演绎真史够精彩，蛇足恋情欠动人。
事情挺有意义，但电影不够精彩。跟间谍、战争都有关系，1毛钱的关系。
只能说可看，剧情还是太拖沓，尤其结局大家都知道的这种主旋律电影，如果细节不够出色，完全吊不起观众的胃口的。
关于凯莉麦克唐纳，看到半程才幡然醒悟，这是猜火车那个女孩啊！爷青回。
感情戏确实不大必要，但豆瓣评分实在太低了一点。脸叔依然美丽迷人！
很喜欢这个故事的精致和诗意，仿佛在写一部小说，每处细节，每句言语，都反复推敲，来回斟酌。
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