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
PS：当把狗子惹生气了，就算是就在你眼皮子地下也都完全不鸟你，哼。。。╮（╯▽╰）╭
真的太怪了，就像那只没脑袋的小神兽，很怪，但，有点可爱？？？
这是什么网大质感的，凝结了西人对东方所有刻板想象的硬疙瘩块浓汤宝……😨😂
一锅乱炖，看了半小时实在看不下去，梁朝伟越老越有味道，支撑看了半小时的强大动力。
演着演着就唱起来了，非常音乐剧感觉的动画片，但是歌又很一般，整体走的温馨路线，但是没事笑点我真的get不到，去抖音补了几个番的解读，感觉比电影有记忆点
铺天盖地的差评让我用吐槽模式打开电影，没想到除了后面突然秒变怪（神）兽大战之外也没多大槽点，动作戏也还蛮精彩的，比之前的《花木兰》不知道好上多少倍了。。。
爆米花电影。西方娱乐片中的东方，可能就是神龙加武术。梁朝伟先生还是那么帅。
确实感觉不到笑点何在，就是一家人像谈普森一家一样的和谐又嘴碎#电影 #开心汉堡店
非常典型的美剧风，真实、风趣，真的能带来很多快乐
我靠……这亚裔选角怎么了……kitty又是怎么回事……梁朝伟和陈法拉的基因都哭了……
发现我总喜欢把现实带到电影里，这一家子遇到的事在现实里估计真的就垮了，就单纯的还钱这点就能压垮，更别说后面全家人滑稽的冒险…但电影不都是来源于现实么(这种歌舞风格动漫第一次看，不太适应)
好浓郁的中国风，从场景到服装到语言到音乐到武术，全是中国风，但好奇一点为啥会有种不伦不类的感觉？而且除了梁朝伟，其他怎么都感觉是韩国思密达。
至少在审美以及动作上比《花木兰》强出一大截，三颗星给这首部不需要字幕就能看懂的好莱坞大片吧。
有狗分必高，除了某些辣鸡！电影结尾很感人，善良的人值得被善待！
每次看到美国一大家子这么和谐，父母相亲相爱等等，真的挺好看的
另外一直觉得尚气这演员长得丑爆了，还吃相难看
感觉演员里面父母辈的颜值还是高了不少，梁朝伟怎么还是这么帅。里面的中国元素也挺漂亮的，不过可能真的因为对超英类的电影无感所以就觉得有点无聊。徐文武这个也没有很反派嘛，感觉就是有自己的心魔而已
剧情极其老套，男主的肉不错，但长得真的真的太丑了
怎么有种神话的即视感，还带着一点十面埋伏🙃
在我生日这天上映，可惜还是不敢去影院。Disney+上看了，就那样吧。特效看起来预算不太高呀，剧情还如此老套，就挺没劲的。
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