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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空手戏白狼德凯奥特曼最终章：向着旅途的彼岸……最后的希望一个女人2010朋友 Amigos局中局活埋十四颗苹果面纱下的那不勒斯婚礼2021恨中爱小英雄雨来恐龙饭店狐之歌喜神2010优胜美地少年英雄董存瑞小男人周记粤语姐姐2019杀回归家路食人帝国拜托了！别宠我第二季收获的季节锦衣卫之王者归来加罗律师第一季火女2024Happier Than Ever: 给洛杉矶的情书桥洞的诅咒人形电脑天使心游戏幻影拉尔复仇记麦哲伦环游历险记（国语版）黄飞鸿之西域雄狮国语锥子蜡笔小新：电击！猪之蹄大作战小镇话语十二宫杀手六胞胎嘻哈帝国第六季虎·破——电影《八佰》制作纪录坐怀不乱柳下惠疯子2019
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空手戏白狼德凯奥特曼最终章：向着旅途的彼岸……最后的希望一个女人2010朋友 Amigos局中局活埋十四颗苹果面纱下的那不勒斯婚礼2021恨中爱小英雄雨来恐龙饭店狐之歌喜神2010优胜美地少年英雄董存瑞小男人周记粤语姐姐2019杀回归家路食人帝国拜托了！别宠我第二季收获的季节锦衣卫之王者归来加罗律师第一季火女2024Happier Than Ever: 给洛杉矶的情书桥洞的诅咒人形电脑天使心游戏幻影拉尔复仇记麦哲伦环游历险记（国语版）黄飞鸿之西域雄狮国语锥子蜡笔小新：电击！猪之蹄大作战小镇话语十二宫杀手六胞胎嘻哈帝国第六季虎·破——电影《八佰》制作纪录坐怀不乱柳下惠疯子2019
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。