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
男主脾气太差了，简直是炮仗，一点就着
讲真，我有点审美疲劳了。吵架-开车-吵架-开车…没完没了😮💨😮💨😮💨
没有遵循公正和美好的结局模式，这使得它看起来很震撼，也很现实。我们看到女主角在每个阶段都因为说出真相而受到羞辱。
终于还是找到了发声通道。但是影片bug之一：为什么他们的手机都不能锁？
印尼电影看的比较少，仅看过的几部主题也都是涉及地方特色宗教恐怖片，这部很现实主义，但隐隐感觉是一种全球化式的现实主义，不知道是好事还是坏事。
啊、狗却上头、男主咋越夸越好看了、打拳击的那几段真的是发丝耷拉下来太戳了、剧情真的是狗啊、下部不会是女主怀孕的相关展开了吧……有纹身的男的真的太戳我了！
复印机的设定有点意思，但整体走向还是能猜到，部分情节太刻意。
女主爸爸出现，解释了女主为啥会虎背熊腰……
忘说了…第一部在女主和高中生分手回到宿舍之后，竟然很磕女主和她舍友。
恶人飞机落地自助小吃飞满脸，老子《道德经》大师营救脑浆都有思想的味道，板凳飞车面膜疗伤论悬崖停摩托的危险性，装甲车不忘装吧台哈利波特留大胡子依旧小屁孩……反类型夺宝无脑爱情喜剧，挺好笑
这部可以 没有那么多闹心的误会 hardin成熟了一点
捏马的，最后还扯到上一辈了，什么时候有4，好想看
第三季感觉男女主颜值滑坡了，这部i的镜头好收敛，家庭的副线好乱，哪有那么深仇大恨
非常好的一部电影，结局不错，算得上是时代和文字复兴的结合吧
在说啥？？我是谁？？连激情戏都不如前两集了…像是一部教你避孕的宣传片
前面太无聊了，后面渐入佳境。用自己的方式，为自己申冤
能看的也就只有男女主的颜值了，剧情从第二部就开始跑偏了
15/6/2022 @ Festival Grand。ok呀膠膠地睇得幾開心呀~Brad Pitt一出真係笑到肚痛
对于男生来说，除了爱情至上的人是不允许有瑕疵的。幼稚，在乎，爱生气，占有欲，报复欲都是很强的不成熟的表现。
要命的无聊，倒是很喜欢本性善良的雇佣兵×神经病娇老板这个组合，我已经脑补好了。原本为了tatum看的结果发现了恐怖点：长发的tatum，比惊悚片还吓人 Brad Pitt倒是不错
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