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
国风动漫的场景画风很惊艳，最引人注目的，莫过于小虎墩的造型，太萌了
好无语啊，看了一半不想看了，小虎墩的角色塑造太有病了，他爸妈就是送镖死的 从小在镖局长大不知道送镖危险??开头一幕送花瓶不说了，送稀有的猪还那么莽撞不知道自己是个小孩吗??后来送镖就更不用说了更傻逼，真有病，可能是我本身讨厌小孩的原因，但是小虎墩这个角色我是真觉得恶心
孩子六岁，说不好看。动画片不像动画片，动作片不像动作片，别拿成人的思维开拍动画片。
算是电影院看过最差动漫了吧。剧情老套 毫无创意.好在很多地方致敬了周星驰 不然一分都不想给
動畫其次，電影主題不錯👍團圓才是核心🥳中間歌曲不錯，經常聽小外外唱。
刚开始的时候以为这部影片只有2D的后来看了介绍才知道有3D版，但3D的拍片真的是太少了。
小虎墩的冒险故事真的是既惊险又欢乐呀，真的是太好看了呀，很适合带小朋友去看！！！
个人觉得不错，剧情虽然简单，但是整体动画感觉挺好
50/100。比《熊出没》或者《喜羊羊与灰太狼》这种传统IP多了种新颖感，还提及了我国历史中镖师这个神秘而又富有魅力的职业，吸引度足够。但是故事依然套路而无趣，毫不搞笑的笑点、没完没了的煽情、尬到无语的决战，都证明所谓的热血国漫创新都只是停在口头功夫上。当然了，杨镖头这个角色写得真的还挺不错的，比烦人的小孩虎墩好多了。
虎墩的父母出门远行多年未归，四海镖局的大掌柜告诉虎墩“只要你当上镖师父母就会回来”，于是原本爱闯祸的“虎孩子”虎墩立志要成为一名镖师。一次误打误撞下，虎墩接到一份绝不简单的护镖任务，在绝世高手杨镖头的陪同下， 虎墩踏上了一段惊心动魄的护镖之路和成长之旅……
总的来说这部电影人物表达少了些个性化锋芒，故事新颖度差点意思，剧情有些平淡。
前期小孩挺让人揪心的 后面我看着看着就睡着了
影片中的一些情节很有教育意义，比如虎墩为了达到目标所付出的努力，很多时候不是事情太难，是我们的努力还不够
作为国产动漫出现在虎年春节档期，小虎墩可爱形象给人眼前一亮，不怕困难的性格，为达到梦想一步一个脚印很好的给小朋友启发，值得带小朋友去看。
大年初一去看了，适合和家人一起的春节档电影，中国风的设计，小虎墩形象很可爱，大boss原来还有反转，温情中有感动，搞笑中有励志，国漫越来越好了！
作为子供向剧情还是OK的。。。就是这个强行胖脸实在是受不了😅😅😅做得还不如2D的画面好看
今早去看了这部动画电影，实话实说有笑点（虎墩与两个镖师的互动和虎墩路上的冒险）有泪点（虎墩想念父母，虎墩回去救师傅），影院的小孩笑声一片👏 👏 👏
总的来说，观影体验很不错，轻松愉悦，有笑有泪有刺激，尤其看完发现全网几乎没有讨论和热度，很多春节档盘点的自媒体也都自动忽略了这部作品，很多观众也还没有发现这部片子的存在也还是挺惋惜的……
小朋友真的会喜欢吗
皆赠无边荆棘万丛生花。
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