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
期待已久！结局交代得很清楚了！虽然是浓缩tv剧情但完全是不一样的叙事手段！！最大的感想，这个公司画人真的画得好丑哈哈哈哈哈哈哈还是无法和解大门兄弟居然不是狗
西班牙小甜妹融化霸道别扭富二代的故事，怎么就这么好看呢（｡ò ∀ ó｡）
总共就他娘的10分钟有效信息，但是结局交代的很好。
拍得很浪漫的片子，非常注重细节，视听双重丝滑享受，光影如梦。难得cheesy的剧本拍得如此梦幻。
总有些时候需要看些轻松易看不用挑骨头的吧是吧是吧，不得不说Tay好美呀
双向暗恋，因wifi起的爱恋，看惯了英美高中生的恋爱故事，可以来感受一下西班牙的热辣风情。多说一句，看这种玛丽苏剧情就不要带脑子啦，打发时间够够的。
？？什么东西，歪果仁的玛丽苏与我们如此不同？
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。
小言改编，虽然西语片尺度是大一点，但感情戏拍起来完全不如东亚细腻啊
俩女主戏再多点就更好啦
只有3分钟正片和ED是全新的！不过重温一遍故事也还挺有意思的。
甜甜的恋爱小故事, but fairytale 当青春小妞电影 看看就好
姬组也就两个浅吻 不够看啊！阖家欢倒是真的可！
一般般一般般，传统温情喜剧片，就是从全异性恋的模式有了拉拉的加入罢了。
开头还有点意思，后面继承家产的霸总剧情在搞什么东西？ ？？画面倒是拍得挺好看。
感谢很烂的字幕让我决定快进着看完，
Hardin portrays romance novelist Emilia, described as a whirlwind who blows back into the lives of her adult children, Taylor (McNamara) and Zach (Lloyd-Jones), under the pretense of a book signing arranged by her hometown's local book shop. As Emilia tries to reconnect, Taylor and Zach explore new and past relationships through an app that boasts old-fashioned human connection by way of the classified ad. Zach is given a chance to heal old wounds while Taylor matches with a woman that changes the way she's always thought about
哈哈哈哈哈 欧美青春文学 这么俗套的剧情还是在拍！父母出轨导致富二代男孩不信爱，被隔壁“偷窥女孩”拯救。配置有afte那味儿。hothot。男主真的不像Justin Bieber吗！
相当于把之前的暗线做了一个剧情串烧，说实话有点低于期待了。基本上80%都是重复的剧情，最想看到的如何避免被杀掉的画面却没有，好气！麻麻的及格了吧算是，希望有那块缺失剧情的解读。
女主到底图这男人什么？美色身体不都享受过了嘛，吃完咱就丢不行吗？什么垃圾理由都能原谅，真是看得我气不打一处来。
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