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
嗷嗷 咚咚咚
我真想知道影厅里那位陪着孙子一家的那位老太太看完的感受是什么。
要内容没有内容，审美还很差，不是陪小朋友真看不下去
@@@@@（2021-10-01）大耳朵图图之霸王龙在行动（Dear Tutu: Operation T-Rex）
大二，为情怀而看，剧情很熟悉，没记错的话在动画片里出现过。不过倒是新增了片头的诡异风，口号歌舞，但个人感觉只有敬老院这一段很好。当我听到的配音不能与记忆里的人物重合时，应该意识到他们也长大了，我离自己的童年已经很远了……
剧情：6
我睡不着
CC还是洗洗睡吧，时间循环这么有趣的题材都能拍这么无趣，紧张刺激的倒计时时刻，大家还能chatchatchat，太出戏了。博士和Yaz的感情线简直突然冒出来的，Yaz你喜欢13的哪一点？！CC笔下的博士无趣，无能，没有领导能力，没有魅力。博士说话的时候前后晃身体，为啥要这样演？
剧情重启了，牛爷爷重新登场，tv的剧情对不上，就像是看同人故事，剧情注水严重，剧本和前三季tv不是一个水准，情节设计不得不说落俗套了
思路是好的，时间循环加上爱情，但我是真想不明白这种无敌的题材是能怎么写的这么烂的，只能说cc稳定发挥。😅
真的不错，结构非常清晰，每个事件比较短，小学的孩子都可以看，大人看了也不尴尬，没有卖傻环节，真的不错，我们都低估了大耳朵图图和上美。
实在不懂为啥不先把还活着家人整出去再找专业人来整这个事感觉解决问题的事情很拉垮啊！这是个数数狂魔吧
张小丽的配音没有以前好了，也有好几个部分完全是照搬以前的剧集。
这种故事结局让我非常难受，柳暗花明还在岸；西方老套路邪恶羊头，丈夫仍然不相信妻子，女儿依旧叛逆，只能说音效吓人，其他拉胯。另外想知道女主用的手机是什么，有个片段看到了充电插孔是在手机顶部的。
每间老屋都住着一只恶魔系列，前屋主为了救儿子召唤了恶魔，全家一起巴比Q（除了女儿），后来入住的女主一家跟着巴比Q。
给童年打五星吧，但是好像有些内容是动画片里的qaq
情怀：6
還不錯啦 是我喜歡的 Time Loop 題材
最后拉远景能看到魔都的东方明珠塔
为了童年给四星，其实是剧版再编，但是最后幼儿园联动养老院真的可以，学校要什么延时课，直接去养老院吧～霸王龙小分队队歌太洗脑了！
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