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
跟看tv版一样的感觉，还可以，但故事不吸引人，这种配置的cp也不是我的菜
本片没有在影院上映是同期院线电影的幸运，枪战的视觉效果玩出了新花样
好尬好尬好尬好尬………………不会画跳舞可以不要画 整个故事围绕跳舞来讲 结果没看到一场舞 绝了
看片过程中，我好想帮帮女主啊！影片尝试了多种方式尽力展现多动症青春女孩的状态，挺独特的～另外女二好温柔，炮友小哥也很有型。总体观影体验挺好的～
never too old for this
没想到ADHD这么严重，情绪完全跟着Jojo走，最要紧的是搞到药先！老爸重度抑郁，没工作，交不了医保，交不了电费，天天蜷沙发沙发看电视，就像Jojo说的那样，如果不在电视机前，就要担心他是不是找根绳子上吊了。结局必须要好，不然活不下去。在最糟糕的时候，还好遇到了Audrey，而且没撒手
好强！网大已经到这个地步了吗？虽然黑马营销很那啥,但是本身质量还是很扎实的,各种类型元素都很稳妥在推进,比如父子情,没有惊喜但是不会拖后腿。厉害之处在于整个团队是喜欢游戏的,游戏和电影的转化做得是目前为止最好的了,视听上能看出还是缺点钱,但是运镜真的今年最强,镜头组接非常强势,后mtv时代属性淋漓尽致,让游戏部分视觉呈现出了超越院线百分之八十的效果。声音也是很有特点,选择和使用都非常网感,虽然电影不是属于新的视听语言革新之作,但是确实是属于当下的互联网时代的电影。最后的声音彩蛋也是绝了！
真讓人羨慕
粗话风的片名，是赞叹，也是赞美。它是在片尾处的台词，有一种让人潸然泪下的魔力。
AHDH的科普很好，要去多关心下我的朋友啦
就本片的质素，网大的头衔可以去了，完全可以上院线。
但又很不错
废柴联盟型团队，永远有一个逗逼胖子一个高冷酷男和一个小美女，我很多年不打游戏，但还是想起了当初上大学时和室友们组队玩CS，并且读了一本叫做《赏金猎手》的小说，那里面，也是这样一组人设。
想起一些在西班牙的回忆。虽然画面精致了，脸上也没有黑线条了，但是一些画面居然还是ppt！🚗是这样也就算了，好多舞蹈镜头都只有半身，不够爽。不过很喜欢祖父母的回忆，外公年轻时太帅了吧……
喜欢！终于看到了！这种故事就是只要不出大的观念问题，叙事又流畅，我真的会夸夸！以来到准太的家乡学习弗朗明哥舞作为线索，讲述西条高人逐渐认知到自己对准太的爱还有学习如何直接地表达，真的很适合傲娇系的他！这个故事线清晰明了很喜欢！还有准太这边视角的补充，关于亚克力板的镜头很喜欢！
不论从剧情走向、伏笔埋设，还是游戏还原度、主旨立意，都设计得非常出色，难得一见的网大好片。女主是个腿精。
这部电影给了我很大的惊喜，所以要鼓励。我们拍电影的初心是什么，拍电影可不可以走点心，我们的要求真的高吗，这些问题是不是应该多想一想，至少你要对得起自己呀！
这个编剧还写了《无可救药》，不擦不擦
看这部剧总能让我想起另一部《疯狂玛丽的约会》，一样的相貌平平会搞砸一切的女主，一样的被中发漂亮姐姐温暖拯救，一样的开始不被理解，一样最后的美好结局。但更喜欢这部。话说女二真的巨爱笑，巨会和人相处，巨理性，巨理想的情人有没有。
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