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
Debería reconocer que no es tan bueno.
我承认 我就是土 我就是乐意看帅哥美女谈恋爱再带点儿小狗血 咋滴吧！！
真行活儿高手，脾脏爆裂那儿确实吓我一跳（不过有些无人机镜头的想法试这一次就得了，下次别再搞了）
取景很美，剧情很雷。女主一开始的跟踪偷窥狂行为令人迷惑，看起来一点也不吸引人，挺变态的……男主扮希腊神的时候有被惊艳到，但其他时候看起来普普通通
这种玛丽苏的剧情我好喜欢！男主颜值我可以！
PS：白人们请站起来共同谴责抗议反对这种越演越烈的白种歧视。。。╮(╯▽╰)╭
这啥呀这是 就是说原本这种片就是看看美好的青春肉体 包着些所谓成长 伤痛 经验外套 但是这也太狗血了吧
在首页看到有新片，跳着看了看，这是啥（？，是个四不像
我摊牌了 我就是爱看 俗又怎样 俊男靓女太养眼了🥰🥰🥰
为了男女主颜值给分，长大了，这种欧美豪门还有的爱情我不相信，但还是要憧憬
这车速，这颜值，实在是太中我下怀了，男主真的太帅了，五官决定了我的三观
的故事
两兄弟夹着女主躺床上我震惊了……btw西班牙小妞电影都这么土吗
土狗剧情 但是看年轻帅哥美女谈恋爱还是挺快乐的
西班牙青少年真的好任性啊！参考前段时间看的西班牙版绯闻女孩😆
霸道总裁（的儿子）爱上我的剧情随便拍拍就有人愿意看（包括我 哈哈）
批着青春电影外衣的肉番，但还只有肉沫尬飘在水上
好拉胯的剧情 但好涩涩的摄影 点上一根华子 想知道全中国哪里的高中有八块腹肌的帅哥
男主寸头真的太帅了！第一次觉得原来寸头也能这么帅！此剧是颜狗天堂
还是熟悉的味道，有种车随时会变形的感觉，运镜就像红蜘蛛在拍摄。
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