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
棒子在此类电影上的造诣已经达到了登峰造极的程度！
有点逗。剧情本身并无特别吸引人的地方，人设也一般，亮点大概是男女主？
徐贤演技其实有进步了，表情台词都磨出一点了。我甚至觉得她比一些大热选手更有潜力，不过资源不会好吧。
我们该接受任何性癖好用自己方式活着的自由。这是性少数者的权利。
乔欣×黄轩既视感，小众文化科普向，谁会不喜欢男主（泪痣超迷人）这种没有攻击性的顺毛大狗狗呢？捆绑着的双手，作势将对方圈向自己，而后十指牢牢锁住，气场倒置的强势吻必须入选本人年度十佳接吻镜头！
带着SM元素的电影，玩的还是不够嗨。就好像故意吊着观众的胃口，却只给吃了一盘小葱拌豆腐。女主长得还行，身材也不错，尺度完全可以再大些。韩国嘛，又没有广电总局，又不会被朝阳大妈举报有伤风化。学什么大陆玩拘谨。解禁男女，这种唯美又带着点痛感还你侬我侬的情侣关系，真心让人羡慕。
只能说男主太幸福了，他个SM向的男人，会有女主为了他什么都肯尝试。也是因为他长的帅，好吧，帅即是魅力。男主女主在公司茶水间做的事，被实习生的录音笔给录下来了，这个实习生还群发了邮件，他的初衷是只发给女主，想要用这个要挟她吧？结果，原来公司里，被录的不只他俩，还有好几个人，呵，干干净净的公司哟。在事情被广而告之后，他俩还留在了公司里，这胆子真是不小啦。在遇到女主前，男主只能隐藏着，在网上和别人交流。他因为能前女友说了，所以被抛弃。也怕再恋爱。别的么，没什么想说的了。
那么苏州园区哪里有这样年轻漂亮的女主人呢 狗头.jpg
🆘不知道为什么有代到一些tail时期的宣美…
尺度几乎没有，但足够有趣。 一切玩法果然都要建立在爱上才更好玩。
视觉很享受，但尺度不大，可以说是BDSM的科普片加男女情感轻喜剧。徐贤在我印象里上次还是那个觉得自己会活100岁的优等生忙内，现在是帅气的成年女性啦，就很适合这种表面帅气私下一丝不苟的玩很大的角色，男主也演的挺好的，非常的狗狗（褒义），看看人家的偶像的演技！没想到还反映了包括在bdsm和职场等多方面的女性困境，虽然整体很理想化的，但看完会觉得还是充满希望呢。
一生里，如果可以遇到一个接受你“假面”之下真实的样子、爱你本来的样子的人是件多么幸福的事。性癖好，其实是件蛮私人的事情。世俗的眼光太容易戴着有色眼镜去判断。只要不强迫任何人、知情同意、坦诚沟通、尊重彼此的前提下，每个人都有选择性的偏好的自由。（忠犬受的男主有点软萌，泪痣和戴眼镜的样子呀…）
女Dom 男Sub
【87】
电影本身非常非常一般，但女主跟一个前同事很像，这就。。。
符合现代人口味的经典框架下的电影；拍这么好是着实没想到，结尾稍微有点理想主义但是不妨碍整部片的优秀；徐贤的眼光真的很不错，敢于挑战自己真的很酷
尺度几乎没有，但足够有趣。 一切玩法果然都要建立在爱上才更好玩。
SM倾向的爱情轻喜剧，结局怼老板很爽，就是太过理想，哈哈！
传统老番性喜剧，网飞的行货质感还是不错。这男主也太小狗了吧
為了把喜劇愛情片做新穎也是很努力加題材了，前半段比較有意思，後半段又開始昇華主題加俗套了
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