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
很轻松很甜很温暖的剧情(虽然剧情很老套)适合在圣诞节看
Netflix年末日常圣诞合家欢电影“我说我们是朋友 大家说我们要当恋人 甚至我的约会对象都说我们该是一对”CP粉狂欢就对了 就是男主侧脸仰头实在有点像司徒建国 让我频频出戏
PS:尼克的演员我太可了啊啊啊!
all my friends are falling in love
合家欢,情节线都猜得到仍然看得开心,在ugly betty里就好喜欢男主
这种电影就要无脑看,无脑看才开心,不然会觉得自己的智商被鄙视了哈哈哈哈哈哈哈
虽然很cliche 但是被甜得嗷嗷叫 下周去喝热红酒啦
7.5 老套的故事内心,但还是看的感动。前半段很好,后半段有点垮,以及,这样的家庭氛围好棒。轻轻松松的圣诞片
太闷啦!流水账吗!!健身教练简直天菜!居然被辜负!!!室友变恋人??别扭!!索菲除了破产姐妹感觉在哪我都跳戏惹!!
I just love the holiday season vibes there.
?完全没看出来两人之间有什么磁力吸引的爱,超级牵强的啊…and最开始的完美情人果然最后都有个大惊喜就是出轨
here for aunt sandy. not for those fuckin homos
给luke加一颗星,btw黑人小哥真的super hot。和最好的朋友谈恋爱可能一不小心就要失去同一个人两次,除非爱满到溢出来否则还是保持一点boundaries更容易长久
我就问一句,只是一句:毫无CP感是怎么做到的?剧情和演技都是大写的尬...
又俗又尬 Christmas元素的电影总是会莫名的温暖呜呜呜呜一家人在一起真好
中规中矩圣诞合家欢 拥抱家人 发现爱情 Luke究极工具人
“我和我室友因为害怕失去对方不敢告白于是我们做了六年的纯室友”这种一句话就能讲明白并且老掉牙的剧情,你就是抄好好抄都能抄出个合格分出来。所以我真的是百思不得其解,怎么就能做出这么烂的一个要剧情没剧情要氛围没氛围的片子来……
救命我快哭了!!!这个圣诞合家欢就是我冬日的暖阳了
感觉这电影就像是:oh我们有些funding花不掉了让我来找找有没有能拍成电影的东西
好喜欢看这样的电影,开开心心就看完了
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