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
我的特工父亲他那是被洗脑了
非常Pure的西部体验,追踪、枪战,足矣。
混乱的西部,开始的想法没错,黑吃黑。
复刻西片怀故旧,有心无力慢慢慢。
西部武侠片。
这么一个俗套的故事被导演拍得还挺好看,不容易。
好久没见的这么标准的西部片,而且还排出了武侠片片的感觉
美国平民的持枪习惯是有历史依据的,电影不太行。
他不相信救赎
亨利的话把整部电影升华了一个层次
不是复仇爽片~对西部片没啥情怀的,就算了,很拖沓~
大隐隐于市,Billy the kid应该隐藏在城市,一望无际的农庄太容易暴露
杰克苏剧情。看完立刻又来了一遍3:10到尤玛镇洗了洗眼睛。
只是tmd活在这个奶头乐的当下,
故事简单老套了一点,不拖沓,浓郁的西部风情是我喜欢的。摄影不错但也可能是风景本身太美的原因。
如果一个人看起来就是厉害的角色,怎么躲藏,如果看起来就像是憋着什么,也不合适。
2021 #179# 西部片的内核乃至情节都大同小异了,但只要换一张脸庞就是另一个不同的人生。P.S他并没有向内兄隐瞒过往
一开始就觉得这个男的肯定是个传说人物 却没想到最后还是死在敌人手里 而且是救过的 太讽刺 也可能是因果
3.5摄影不错,几处空镜头,增加了人物的气质和氛围。
开完会冒烟的左轮,击中会炸飞的双管,开垦却不发芽的土地,
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