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
第一阶梯李小龙，第二阶梯李连杰成龙，第三阶梯甄子丹，动作片的第四阶梯就要靠谢苗了吧！哈哈哈……
不错，剧情不简单却不做作，动作打戏确实荷尔蒙爆棚。谢苗这是要一直拍网大了吗，也可以适当拍一些剧院商业片啊。
我是推着划船机看的，因为过程太精彩无尿点了，还多划了十几公里。比扫黑风暴和除暴安良等什么其他扫黑的片子强多了。苗总表演张力哪里比吴京差了？明明都是院线大电影的水准。打斗极为真实，拳拳到肉。满满的真实感，虽然破案逻辑上有些小细节稍微有瑕疵，但是已经非常优秀了。谢苗一定🔥
能给7分，竟然还不错，这不比看扫黑除爆强。最关键的是这部网大竟然让我明白了什么叫他妈的虚拟货币。
精彩，网络大电影的质量越来越高了，短小精悍，不拖泥带水。
有故事，挖得不深不细，虎头蛇尾；情节看一知二模式化，人物1号败在化妆上。收尾仓促把一个大片拍成了网剧
谢苗演的精彩，有正义感，也很能打，还比较机智
反派跟智障似的 最聪明的那个看起来也不咋聪明
影评：看之前其实没抱多大的希望，看了以后发现整体还是不错的，剧情虽然很一般，但是打斗戏确实很过瘾，谢苗的演技确实不错的。
and谢苗演的真不错，看得时候不进问了一句，释小龙呢。
都他妈困车里了，没啥外来因素了，有啥理由非要打一架？
七分，影片六分，给谢苗加一分，当年的功夫童星啊，只是因为人生的一些选择才没大红大紫………
拳拳到肉的动作戏真心不好拍 演员的每一个动作都必须经过一次又一次的实战模拟最终敲定 最有魅力的角色是表面看似文气的斯文人 他摘下假面 化身武功了得的动作狠人 最后大巴的戏总让人想起黄海 过于近距离的逼真狠绝 又让人想起犯罪都市 虽然部分情节逻辑拉胯 又要照顾到主旋律弘扬正义这一块 免不了有过于伟光正的场景设定 不过整体还是值得肯定鼓励的 所谓有诚意的电影 好评
低配版配置“导火线” 简短流畅. 一部合格的网大电影,不难看
有剧情，有节奏，有视听语言，有动作设计，网剧之光！
21世纪了，没有人能在什么地方只手遮天了。
真害怕警察11哥是坏人卧底呀
刚开始那三兄弟多牛逼，后来那么拉，就这智商？
医院打成那个样儿了门口警察是聋哑人？费解。男主真得很韩星啊…男二反派老三虽然有点装b但还是不错的。
谢苗演的大戏都很有实力和看点，可惜是网大，演技是不错的
Copyright © 2015-2023 All Rights Reserved
