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
还可以,噱头少了点,为转折而转折,人物沦为道具
一些隐喻真的拍手叫绝!!!
Sadly,Queen B变成了“绝望主妇”。与此同时,英国男人依然在美国电影里继续扮演着渣男角色
一个吃黑道的警察,遇上事情基本上一脸慌张,该说你是城府深呢还是城府浅呢。
这个结局真的就是两脚就解决了?警察大妈竟然不懂怎么保护当事人居然在电话里喊我们来了?烂尾啊烂尾,房东存在的意义就为了让监控这趴出来?啊 槽点过多
无聊和空虚的电影,通过无聊和空虚,表达了无聊和空虚。
我好像没get倒出轨男和闺蜜争吵的矛盾点到底是啥?
比想象中好看,评分有点低呀,感觉有7分……
老房子,破败,画展,觥筹交错,
一些隐喻真的拍手叫绝!!!
女主是queen b演得很好,剧情逻辑有点说不通,总体还可以。
相比于越来越美的S,QueenB太让我一言难尽了
看到最后生出一种打完游戏忍不住给打得最菜的点个赞的那种心情(我不管等可以自由暴走以后我第一个要去的就是Croatia
这片不错呀,有点悬念,有点女权,最主要还有克罗地亚风光
Queen b产后新片,为她这份勇气点赞。女性生产后的疲惫感臃肿感和松弛感她都大方的展现出来了。但也正是为人母为她带来强大的力量,能几次手刃凶手哈哈哈!谢谢赞恩让我get到阿拉伯男人的帅点~~
这电影是真的很一般!!!孤独有欲望的人相遇啊,那是一场怎样的酣畅淋漓啊!
嗯……两星,不能再多了……在抖音看个解说就可以,完全没必要花一个多小时看一遍,大可不必
除去bug有点多,还是比较好看的,虽然嫌疑人换来换去,但是真理是不变的,不用动脑分析,可以轻松观看的一部电影,演员基本没造型,还是挺敬业的。
虽说是翻拍,但本剧短小精悍,笑点和刺激一样不少,值得四星
好多年没看见莉顿了 好吧 每个事业低谷的女星都会经历的网飞大数据电影
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