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
挺好看的还原大话西游的那个故事如何缘起的故事，然后达叔在生前演出的最后一部电影，也是蛮感慨的，然后故事也非常算得上是诚意之作，然后演员表演也特别的精彩，故事也特别的唯美动人，然后也不乏诙谐幽默，实在是大话西游续作里头不可多得的一部上乘之作。
在网大里还算可以吧，达叔遗作的宣传噱头稍有夸张
我觉得吧，网大拍成这样真的应该给予鼓励，而不是无止境的挑剔，男女主演都挺入戏的，挑战紫霞和至尊宝这俩个角色观众不跳戏不油腻已经是地狱难度了。故事上的瑕疵问题就可以放放了，瑕不掩瑜。
本来这种标题的片子是不会看的，大概率烂。但是被朋友大力安利来看了一下。冲着男女主都让人觉得舒适就给你个四星。内核确实差些，很多地方挺生硬的。猴子对线墨菲特是最尴尬的…“下面”梗很倒胃口。
主要是想看来达哥，剧情是我能看得下去，但是，为什么男女主要这么磕碜？？毕竟你是拍紫霞仙子和至尊宝啊？？！！估计是俩带资进组的，浪费了这个有点新意的编剧。
中国网络电影的一个通病……有可能是时长太短的原因，细节太差了。电影完成度还是可以的，故事很完整，但细节太少，根本看不到紫霞和至尊宝的爱情在哪里……紫霞来找至尊宝，至尊宝拔不出宝剑，紫霞要走，至尊宝想跟着，都合理吧。然后两人之间感情到底是怎么产生的？大反派九孔，多点细节也会好一些。但没有细节，导致他突然跳反也没什么感觉……另外因为套在了大话西游的壳上，剧情实在没新意，怎么整都是那个样~演员还行吧，演技不差，但看不出演技好。紫霞不像个仙子，更像个人间烟火气息浓重的小丫头。
存在很多不成熟，然而内核确实是真大话紫霞的演员非常加分
fake it until you make it
《大话西游缘起》达叔的最后一部电影
78分钟，作为网剧的故事讲很好了，演员也好。鼓励。
有点不知道说啥，男主太像黄轩了，这以后咋发展呢…同类型的片也真的好多，无厘头看着更无厘头，违和，连周星驰自己的片看着都违和真奇怪
达叔最后一个电影，但是电影还是有点烂 当茶余饭后无聊打发时间看，模仿星爷太严重，星爷都不这么拍电影了！哎
本来没兴趣，看了发条张推荐才去，确实有几个点挺戳人。
九孔老师的反派真是恨不起来。除了朱茵的紫霞，马心瑞的紫霞最喜欢。故事说得过去。这些就已经够及格分之上了。还是很不错的。序幕里达叔的名字画了方格还是很难受的。毕竟他的电影每次看都特别想笑。
挺好的啊，起码比那些投入巨资洗钱的拍的要好，剧情挺好
可能是被倚天屠龙给打击了吧，预期非常低，结果看了以后感觉还不错。演员表情上太差，但是和新倚天比起来那简直了，尤其女演员。导演还是基本上熟悉大话西游的，故事讲述还算能圆上。加分一个是达叔，还有最后一生所爱响起，回忆杀啊。
作为正版授权翻拍，不毁经典；
2.5星 ，半星为了拉一点分。剧情合理，两主角脸不讨人厌，演技基本在线。有些片段场景能看到及格线以上的水平。就不能能把粗制滥造的特效妖怪去掉，写多点文戏的？这版紫霞虽然比不上朱茵，但是抛唐嫣九条街！
我就说上单石头人是个混子嘛，怎么打得过猴子呢？
剧情非常简单，也规避了很多深层次的东西，中规中矩很寡淡，女主长挺美的，为了达叔的遗作，多给一颗星
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