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
虽然中国人法国人对待病毒的思维模式完全不同，却是关于疫情的电影里最喜欢的一部, "Pandémie pandémie tu n'es pas mon amie" hhhh
上周六被拉去电影院看的。我的生活充满意外，一些懒得解释懒得问，没头又没尾。一如我看过的三步超英电影分别是雷神3，奇异博士2和蜘蛛侠动画片😽
在现在这个疫情特殊背景下的片子，很典型的法国民居，不同人家不同性格不同故事，前期还有些轻喜剧，后期的形态也算是我们当下的状况吧，2个多小时后期就有点讲述故事疲软，但还好撑住了。唯一有点意外的是导演竟然在最后一片温馨下没有全部人员大happy ending的结局吧，或许这也是为什么它的评分很稳定的原因吧，还弄的快最后了让我泪目了伤感了几分钟，或许结尾的意想不到或者怎么样华丽转身是一部让人可以留下印象的影片的值得记住的特点吧，可以一看。
后一半值四星，幸运的事是如果我们在同一天出生，在同一天死亡，那就不会有人悲伤
没有以前导演的电影好看了，笑料不多，剧情也挺让人诧异，结局有些牵强，不算是个轻松的电影
因疫情隔离条件下几家邻居的有趣故事，正能量喜剧。 研发疫苗的医生最搞笑，有那么几下子像赵本山😃 小姑娘萌化了，比小范宁不差哦。
故事背景为存在「外」、「内」两个国家的世界，人类少女「汐华」与非人的异形「老师」共同生活，一段宛如绘本、童话与诗集的黑暗奇幻物语。 长篇动画附属于《外之国的少女》番外篇特装
6分-法式幽默，导演把怕新冠演到恰到好处，搞笑幽默，承担了90%的笑料！还有这秃头比利时白痴，活该地中海！不过他儿子好帅啊！后半部分有点拉垮，出轨之吻败笔！疯狂抽搐医生，还有可怜的迪亚哥！
#62 哼，lockdown到现在看人家隔离的小成本轻喜剧欢乐不起来
没看过漫画确实不太看得懂但画风真的好喜欢啊！！
然而为什么唯独阿尔伯特保留有灵魂呢？整个世界观难道都是围绕希瓦和阿尔伯特而生的？如若少女切实存在，全片真的逻辑通顺吗？但如若只是灵魂与记忆的映射，想象本身真的足以勾勒出少女如此写实的动作吗？
逻辑自洽很合理，绯红女巫美强惨，另一个宇宙里证明了法系力量才是最强大的了笑
看过的最好一部疫情题材电影，幽默温情以及残酷的离别。
很喜剧的温情片
算是围观了一下别人怎么抗疫的。挺好看的，笑死我了。
旺达太太太太强了。母爱无限。恐怖元素拉满。doctor真帅。脑洞大开剧情满分。
隔离期间看的片，很多细节比较有共鸣，但不算有趣，总是让我睡着
20220717，Fantasia。畫面很美，但在對原著繪本完全沒了解的基礎上很難理解劇情，容易覺得漏洞一堆。
绘本画风真棒！单看oad还是有点云里雾里，补漫画喽～
不评价防疫措施，疯狂科学家不知道想表达什么，其他还是很温馨感人的，特别结局。
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