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
这种电影总是让人觉得人生太苦，冰天雪地寒彻骨，遍起篝火不能祛
跟以前看过的法国片相比 的确剧情比较平庸 可以不看哈哈哈哈
一个独自营救的故事，印象深刻的是1.冷，2.一个经历冻、摔、淹依旧大难不死的男主
这么一部个人经历纪实的片子，拍成一则访谈就好。大张旗鼓整成了影片，却没给人预想中的冲击。主旨简单，因为煤气泄露痛失两名爱女的帕姆，风暴天坚持巡山，救下了即将冻毙在山顶的约翰。约翰想通了感情的事，难以复得。帕姆也某种程度履行一种救赎。影片时间切分太多，从早起标明的6:30恶劣天气播报，到23:26成功救人至山脚停车场，中途还标出了十五个时间点。以为形势将愈发紧张，原来只是加快解救过程的复述。这样的工作我敬佩，这样的片子我倍速。
老爷子有点小固执却很可爱，想给孩子上一课，结果也给自己上了一课，陪伴真的是孩子成长过程中最重要的东西。
虽然荒诞但是不无道理，父母都望孩子成龙成凤
中规中矩，就是女主一直乳摇几个意思？考验我定力是吧
導演故事沒講好，但Naomi很棒，撐起了整部作品多加半星。
前半段很精彩啊！暴雪遇险虽然艰难但是演得真实又出彩，后半段突然静下来讲内心戏，就逐渐有些压抑。片子还是好片子，值得一看！
剧情平平无奇，最让人震惊的是看完才知道是QueenB演的😟
#movie
这是一部全程无推理的剧情,也是这部剧高级的地方,它的悬疑推理在于人物心理的刻画,既单纯又恐怖
非要在厕所里报警吗？克罗地亚警察这么蠢？不查一查她老公的航班信息？
三个大孩子都太可爱了。
跟以前看过的法国片相比 的确剧情比较平庸 可以不看哈哈哈哈
跟以前看过的法国片相比 的确剧情比较平庸 可以不看哈哈哈哈
Queen B 的电影真的是没有一部好看的😅
阿拉伯司机真的是好人 我开始还担心他是大坏人！
这片子是在黑马赛黑法国人吗？往客人盘子里吐痰这一点真是让人重新认识了法国人的三观
节奏很快，适合周末随便看看
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