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
哈哈哈哈笑死了菲拉萌真的好可爱哦，我抱起来就是一个亲亲和串串( ˝ᗢ̈˝ )不过妹妹虽然很乐观也很厉害很幸运，最后也挺喜欢她的，但是太熊了真的。
不抱很大期望的情况下还蛮不错，甚至亮点颇多！希娜和龙王那场动作戏算是近五年top2的女子动作戏码了，非常棒！傻缺探长抱情人尸体报警那段也蛮有黑色幽默的。安志杰年龄也大了，想当年《黑侠2》里面帅的一批！现在也是硬汉大叔范儿了，不过动作依然凌厉，本片里拳拳到肉的感觉特别带劲！！希望这么多年稍有主角的安志杰能凭借这部戏好好主演几部影片吧。至于其他缺点肯定有，杨杏其实是个好演员，只是这里面用力过猛，剧情过于直线，少曲折，很多伏笔太明显等等。希望导演组后面再有动作片能更精雕细琢些！
十一带孩子看还是非常不错的！热热闹闹、开开心心的！
所以就是说国内配音为什么要加那么多奇奇怪怪的网络流行语啊…好尬… 果真是儿童电影来着，就剧情也有点点尬…还老是有种皮克斯动画的既视感？但是又是很劣质痕迹很重的那种…那段唱歌尬的我直接原地升天886
不仅剧情扯，连动作也毫无看点，是谁说的好看的？
存在一点点历史知识，本以为适合学龄前儿童，事实上小学生可能看得更欢乐。里面穿插的不少段子让陪看时光不至于太过无聊。
杨杏和祁圣翰的疯批样子很迷人啊 特别是杨杏的疯批复仇人设太带感了 很是出彩 打戏蛮精彩的 不过情节真的是一言难尽 一些地方不清不楚的 主角光环实在是太严重了 强行HE也是我个人不喜欢的 不过我愿意为杨杏的表演加一颗星
很美式的中国动画，居然没比一只渡渡鸟了解历史，跨物种恋情，居然还能有后代
无脑的剧情，漫画夸张的表情人人设，竟然让人不反感。其中最大的功臣就是杨杏。演技真的可以。魅力盖过了男主。
盈利模式怎么样呢？
呸，浪费我六块钱！两个字：稀烂！三个字：稀巴烂！两星给暴走女主。
难得演主角都被女反派抢锋芒！鼻子没整好？山根看着好奇怪。。
怎么也得上6.5分，虽然BUG多，瑕不掩瑜
影片在动作和特效方面还可以，主要问题都在人物刻画和画面营造上面，杨杏和张亚奇明显是想塑造成小丑和哈莉奎茵那种神经质雌雄双煞，可惜用力过猛了，卫生间的铺垫有些鸡肋，而法院的展现显得特别夸张；而作为大男主的安志杰在一众呆板可以的任务当中，显得演技很是在线，但是为了塑造这个角色的成长，整体上有些偏于逻辑了，这方面不赖他，编剧的问题，而导演的问题是画面语言的处理过于潦草，没能将故事讲的简单明了，预告片不错，正片跑品质也就五分的样子吧……
●女主演技真她妈好！！全员演技都很赞！在中国片里找到一个全员演技赞的实在太难得了！！
总体来说7分吧 构思是好的 就是前面太啰嗦了 有些无聊 后面还可以 还是挺适合小朋友去看的
再次证明演员选对了已经成功了一半！开篇雌雄双盗，易邪易魅，演技狂飙（这俩人极其有夫妻相），贡献了开篇最大吸睛点。紧接着反派群像展开。女疯子霹雳娇娃，飒爽到底，太子鬼畜变态，表演张力十足，使得反派出彩程度远超过正面人物。节奏快，无煽情，亲情线也只起到点到为止的剧情推动，使全程显得流畅自由、无尿点。某国搞笑警官接连被送上“升职大礼包”，桥段充满搞笑的黑色幽默。作为网大，拍成这样，不失惊喜。至于咀嚼无味，则是这类题材的通病
菲拉萌挺可爱的，适合小孩看吧，就是感觉小白黑化的有点莫名奇妙
全世界都说中国话
希娜真的是亮点人物，可惜演的有些浮夸了，不然一定能产生小丑女出场的惊喜感
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