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
查宁塔图姆和之前合作过的编剧，一起编剧导演，人和狗的故事，找到自己，还行吧，6.8
Love me,正相反，我并不喜欢一切都必须得是深刻的。
故事也不新鲜，编剧还拉胯。查宁保养的不错，但电影太平了，清新治愈也不是这么拍的，总觉得查宁老师应该再做点出格的事才对。
没忠犬八公揪心 不过有狗狗我都不排斥 1896
撩妹教科书，如果没有狗，这片子可能会更好一点
狗+公路+自我救赎题材的片子居然能拍这么平淡……
3.5。剧情简单，但是人与狗之间的永恒感情不会停下感动的步伐
老兵和社会格格不入，一心想回到军营，背负送战功狗狗去主人葬礼，然后将其安乐死的任务。老兵把妹，被狗狗干扰，误入大麻农场主家，开始了解狗狗。带着狗狗免费住酒店，结果狗狗失控袭击中东人。进监狱，被放走，和朋友训狗，得知其走出战争阴影过上新生活，和狗狗关系拉近。东西被偷，和狗狗合作找到小偷，发现对方可能是个堕落老兵，开始思考自身处境。雨夜狗狗害怕打雷，老兵温柔以待，自己恐慌症发作时，狗狗陪伴。在送狗狗去安乐死后，选择回头，放弃投身战争的想法，带着狗狗回归正常生活，和妻女修复关系。
虽然很俗，但是不难看，跟一般那种蠢到不行的狗片不一样，不刻意卖惨煽情，视角也不居高临下，情节上更不扯什么几世轮回鸡掰bullshit，就是平铺直叙讲一个“狗狗与我”的故事，套一个泛公路片模板，最后落到自我和解的传统主题上，凑效。钱老板演这样的角色蛮自然的，舒适区内吧可以说是，40多岁身材颜值也都依旧能打，首执导筒也合格。最主要的是，包裹了一点反战思考，不过高潮推进略着急，整体还是可以一看的。
最近看的第三部帅哥和狗的电影。不过渣宁在这个电影里邋遢又糟心。露露狗狠话不多。人与狗同病相怜，最后相依为命。重生的意义，互相的。
情节有一幕是车子抛锚，风雨交加的夜晚，猛男和狗子躲进了一间可以避雨的旧房子。猛男屈坐在一个小凳子上，而狗子舒适地趴在沙发上。猛男胸肌一直在剧烈跳动，这是因为淋雨后身体冷到发抖，但却还在温柔地给狗子读情诗。
整体挺好值得一看。最后反转是什么鬼？还有就是伯恩·戈曼一出场，那效果基本就是脸上写着“我是凶手”........
一开始觉得光是暴躁警察在线接听911电话 帮助Emily Abby Henry一家都够吸引了 为什么要加入Joe自己过失杀人的剧情线呢？直到他向Emily承认自己错再到在厕所吐打电话给朋友让他在法庭上诚实说出真相我才明白 这个角色的厚度和温度都是顶级的。因为知道Oliver还活着 知道她妈妈爸爸还有姐姐都为这条生命而疯而紧张 他才真正意识到错手杀了人 就该为这个事情负上责任。get不到吉伦哈尔的帅 但get到他的演技是比我一直不喜欢他的想象中要好得多。
虽然有一点点闷，虽然梗也非常能想到，但还是感动的，送别旧主和彼此治愈，孤单的公路片，以及半永久肌肉的查宁，保持的真不错。
无法说出来的话，写下来却那么浪漫。
#Movie
1个半小时的电影，没咋地呢就演完了。 太喜欢露露了。时间过得好快。
延续预告的相互救赎 结局挺好的 过期的小卡也不要了 - 总要放弃什么才能开始新的生活
Again 对内容的理解败在了听力理解上 狱吏和男主的对话听的一知半解 去看望Lulu的兄弟的家庭男主人和男主的对话也一知半解 另外 他为啥中途要去装盲人蹭酒店？还有狗狗参加完葬礼后为啥又要回基地？这些疑惑不明白 不过狗狗颜色特别棒！作为家里也有狗狗的爱狗人士 感觉和狗狗有种特殊的共鸣！开头的狗狗成长记录和参加葬礼那段还都把我看哭了 偷偷抹眼泪。。。狗狗是人类的好朋友 互相拯救吧！
窗户里挥手和地铁里那幕有点吓人，结局有点小意外，总体来讲还不错
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