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
热血漫一贯的风格，永不放弃。
女主名字最棒，居然叫“青伶”！🙀跟我硕士期间一脑残同学同名，江湖人称“土豆姐”。😸
村子真不错，有点世外桃源的感觉。就是村民容易被蒙蔽。
中村这次画的打戏有点超越人类极限了的逆天了（很神秘）
中规中矩的亲情温情系恐怖片，最后都是坏人作祟，都是人性贪婪、愚昧，都是阴谋，甚至有畸形元素，就是不能有阿飘。恐怖气氛安排的尚且可以，还有那么一点悬疑感，不过千万别抱多大希望，瞅两眼就得了。
哈哈哈，这是要硬蹭张辰亮水猴子的热度呀，鉴定网络热门生物，虽然评分不高，但也算是国产恐怖电影的佳作了，起码故事完整，没有特别突兀的桥段，演员表演也到位，没有很尬。
看到绿谷用藏头短信作为暗号时，我就知道这段 100 多分钟的动画不会好了…… 好腻味啊。
今天看了，奇怪的是虽有很多槽点却让我哭的不行，可能姐弟情我太能共鸣了
害挺克，而且我竟然看哭了，而且女主角太好看了
王真儿怎么也说是个小有名气了吧。为啥要来演这种电影。。。而且她这个形象演这种片儿合适么？导演怎么想的啊。而且王真儿怎么老演法医啊。。。比第一部是差远了。
一直认为是个网大，结果……还不如网大故事做得好
两星半 故事有进步，美术很不错。尽管温情路线有些牵强，但还是挺受用。
就水怪来说不如第一部，但是还是不错了。可怜第一部那么猛的主角就被镇长给害了。还以为最后会真的塑一座像给水怪呢！毕竟救了全村小孩。
最后的战斗有前面几季的feel了 燃的整个人热血沸腾 虽然故事老套了点 不过不用带脑子 本来就爽就完事了
中规中矩的亲情温情系恐怖片，最后都是坏人作祟，都是人性贪婪、愚昧，都是阴谋，甚至有畸形元素，就是不能有阿飘。恐怖气氛安排的尚且可以，还有那么一点悬疑感，不过千万别抱多大希望，瞅两眼就得了。
两个反派虚假的强硬？
其实前半段挺好的，后半段是什么东西，难怪分低……
剧情有些狗血，没有策略略显可惜，燃就完事了。
意料之中的结局，没有第一部纯水怪那种大杀四方，这一部没有水怪，纯粹是人在作怪，增加了多了许多温情篇幅
不得不说那个抖音剪辑的很不错，正片看不进去
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