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
🥺awwww心都化了，中间要亲不亲的时候放起了girl in red的watch you sleep眼泪一下子掉下来了，狠狠代入了。
最近好多甜甜的同性恋青少年影视噢～虽然也就是看了两部～真的有被这些可爱到QAQ
少男少女高中恋情变成了少女们的高中恋情，有啥区别呢
田径赛场、涂鸦墙、两个母胎单身的女孩子等到了soulmate
dzyn forever the best in my minds eye.
夏娃的时间精神续作，吉浦康裕玩sf还是一把好手，但是校园剧不太行（总体7分吧
当所有美好相遇
和《真心半解》的风格不太一样，但意外地挺轻松好看的。King Pun（双关画家）的设定非常有意思，自己给自己的评论区已经预留好一篇帖子了，整理下这些好玩的英文双关，复习复习英文单词。
好可爱啊，一些外国的月亮。年轻的高中生，为了爱情的甜蜜的烦恼。Karen如果当妈，也许就是这样的形象，相比之下两个学生会主席更像女主的父母，笑死
真的難看 劇情老套 女主特別不討喜 演技還不好 感覺製作和《真心半解》一樣 而且連海報也高度相似 真的不是復刻麼？
跑直线是三个女孩唯一能干的“直”事 最后高光时刻谁给Paige画的妆 ？把Paige搞得像得了黄疸 练田径的女孩都好有力量
女版的《你好，赛蒙》，头回知道口交套这种东西
这里怎么就没一个长的好看的女的啊.....现在白女都这么丑了吗
#和nz人一起看# 近来看crush和heartstopper，觉得就是把异性恋的校园青春片换成了同性而已。从社会文化角度来讲当然是好的，异性恋和同性恋在影视艺术中逐渐有了平等的表达方式。但从艺术创作上来讲无疑是糟糕的，只是滥俗的情节罢了。
突然有点羡慕。
（哇哦，我都不知道原来二阶堂富美的英文说得那么好。。。二阶堂富美美国分美。（过于天真幼稚造作无瑕的小美好，本片适宜年龄：13～16岁。
我要这个妈 我要这个学校 我要这群朋友 我要这样明确的目标……呜呜……我要做什么才能把我发射到这个宇宙。女主角有些画面好像苏芮琪。
two mins Cassie&Izzie track kiss top this whole movie
很好看啊 哈哈 这就是美国的青春烂片把 不过够热闹
很轻松的校园爱情故事，美好到结尾显得那么不真实，太可爱了!!! （姐姐像科比女儿，妹妹像汤武神）
Copyright © 2015-2023 All Rights Reserved
