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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篷车队丝绸之路任人差遣东陵大盗5敲开天堂的门缉毒英雄1996伪装者第二季无间道2粤语版半生缘2002你们这些人呆瓜对对碰（普通话）吸血鬼生活第四季性与暴力第三季新萧十一郎2016智取华山传奇永生的海拉火线救援第二季秘密的午后十三妹传说中的故乡遗弃2010魔偶奇谭3忧郁的物怪庵 续他们低语初恋与你都很甜猛汉狂徒幽灵和鲸手艺第一季爱国者张鲁一版大赢家2000粤语龙的世界未完成的电影黄飞鸿92之龙行天下风雨重现贾斯汀·比伯：我们的世界自由之缰第二季天才王子的赤字国家再生术曲面的秘密：玛丽安·米尔札哈尼的数学世界洪拳大师誓言2022永远2016蜜月玩很大大川端侦探社我们，动物末日终结者
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篷车队丝绸之路任人差遣东陵大盗5敲开天堂的门缉毒英雄1996伪装者第二季无间道2粤语版半生缘2002你们这些人呆瓜对对碰（普通话）吸血鬼生活第四季性与暴力第三季新萧十一郎2016智取华山传奇永生的海拉火线救援第二季秘密的午后十三妹传说中的故乡遗弃2010魔偶奇谭3忧郁的物怪庵 续他们低语初恋与你都很甜猛汉狂徒幽灵和鲸手艺第一季爱国者张鲁一版大赢家2000粤语龙的世界未完成的电影黄飞鸿92之龙行天下风雨重现贾斯汀·比伯：我们的世界自由之缰第二季天才王子的赤字国家再生术曲面的秘密：玛丽安·米尔札哈尼的数学世界洪拳大师誓言2022永远2016蜜月玩很大大川端侦探社我们，动物末日终结者
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。