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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红小鬼笑八仙粤语神鬼妙计爱情万岁1994公寓分手当天我成了大佬掌中宝暗哨我的兄弟姐妹国际名厨争霸赛天亮请睁眼下雨时你的温柔可爱巧虎岛生锈2018阖府抢钱粤语吉米的舞厅致命教案2022初恋教我的18件事凭物语本日公休买下我罗伯特·布鲁斯无能为力挺进中原月老神龟秃鹰档案铁血女王氧气危机北村方向一次搞定杨门女将之女将初征2001陪你一起好好吃饭（卫士版）四分之三玻璃芦苇飙速宅男 SPECIAL RIDE全美超模大赛第七季太空堡垒卡拉狄加：利刃之回闪消失的旗袍关山度若飞证明我爱你乔老爷上轿独裁者古贺 独裁者、古賀。大魔皇的日常烦恼动态漫画X陷阱女教师2016捷克版
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红小鬼笑八仙粤语神鬼妙计爱情万岁1994公寓分手当天我成了大佬掌中宝暗哨我的兄弟姐妹国际名厨争霸赛天亮请睁眼下雨时你的温柔可爱巧虎岛生锈2018阖府抢钱粤语吉米的舞厅致命教案2022初恋教我的18件事凭物语本日公休买下我罗伯特·布鲁斯无能为力挺进中原月老神龟秃鹰档案铁血女王氧气危机北村方向一次搞定杨门女将之女将初征2001陪你一起好好吃饭（卫士版）四分之三玻璃芦苇飙速宅男 SPECIAL RIDE全美超模大赛第七季太空堡垒卡拉狄加：利刃之回闪消失的旗袍关山度若飞证明我爱你乔老爷上轿独裁者古贺 独裁者、古賀。大魔皇的日常烦恼动态漫画X陷阱女教师2016捷克版
AW脑残粉 自然给高分
电影从1840年维多利亚女王结婚一直演到1901年逝世，期间许多重大事件都有反映：第一届万国博览会、克里米亚战争、英军在苏丹的失败、即位60周年庆典……人物还原度很高，在皇宫实地取景。不过还是免不了带着时代烙印，拍摄于二战前夕，电影刻意表现阿尔伯特亲王是一个好的德国人，以缓和敏感的英德关系
浮光掠影，却也有趣。