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
今日4-feature run之一 为了看可爱的大狗狗的 可是这狗一点都不乖这最后强行大团圆我很担心她们apartment里怎么manage的 最后小女主的讲话也是。。Clifford is not just different… he’s also a huge pain in the ass in midtown Manhattan。。小女主非常kind, precocious, smart, 讨人喜欢，中间送别那里我都看哭了😢poor baby 叔叔也很帅。我觉得这电影不太适合孩子看，对bully情景处理的不是很好
不太好看，剧情散乱没有重点，东一榔头西一棒子的，但因为花了钱只好坚持到结束才出来，不算大烂片，但没什么必要花钱看
典型的美式合家欢爆米花电影、、好久之前就在电影院看了预告、结果这片网上都能看了电影院还没开
就… 适合跟小朋友一起看 寓教于乐。大红狗一出现，脑子就自动跳到前段时间看的那只红熊猫去了… 相对来说，更喜欢红熊猫呢。
完全没有说服力的童话故事，彻彻底底的儿童向。所有人物都不立体，剧情扁平毫无新意，每一个情节都精准地踏在预设上索然无味。
本爱狗人士表示很喜欢这个故事，好正能量的童话。（为什么学校的漂亮女孩总是这么mean，这是刻板印象么…）
大篇幅内容压缩到两个小时，许多人物动机和事情来龙去脉有些混乱。
每一步都很妙，但是加在一起就显得莫名其妙。值得赞扬的是，没有安排女主角跟别人的感情戏，不然真的给一星。
曾经的中产阶级邻里和谐的价值观，加上现在zzzq的说教，简直无聊透了。这动画的狗有什么可爱的，用特摄拍都比这个强。
剧情好低幼，适合给小朋友看，成人观看需主动降智。
古董纹路的特效动画很赞，把内里和成色的编排做的非常到位，至于剧情和人物，内地电影市面上的人物设定，逻辑空乏，角色转变分分钟，滥用煽情，其实没啥有新意的地方，改编过多次的小说，到这部电影也仅仅是演员的粉丝狂欢，没啥可说道的地方。★★☆
2022了还有如此俗套的故事，感觉好莱坞也摆烂。但是有大狗勾啊，只好给5星了 放在国内的背景，这么大的狗，下场可想而知
Unique puppy🐕🦺mediocre plot
阳光明媚的儿童电影，也适合成年人偶尔躲在里面幻想一下爱可以发电。不适合那些天天跟宠物争宠的动不动就“白左”挂在嘴边的反动物社畜观看。
I’m also not looking for a dog 🥺
這分明是一隻染紅的拉布拉多吧，哪個小朋友能拒絕修狗勾！！clifford真的好可愛又暖心，暖到可以忽略他奇怪的顏色，狗狗賽高
with房东（）想说大部分六分电影的评分形状真的很像竖中指（）
《故事会》大电影，布景好也救不了片子太水了。
大红狗？！
6.7城市童话，没看过原著，处处都吐露着普通的童话味，这样的事情放在城市里格格不入，还有那条红狗，我真的觉得很可爱，但可爱不能当饭吃。
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