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
编剧是不是换了？明显比第一部不合理的地方太多，也比第一部更玄乎了。第一部女主最后已经够碾压了，这一部的女主简直无敌了。其实如果不是最后第一部女主的出现把故事尽量弄圆点，我都想给三星了。这一部的女主武力值虽然无敌，但总感觉脑子不太灵光。还好子允出现了告诉我们没有舍弃那条线只是多加一条主角线，要知道我可是为了看子允才看的第二部，这么一看不知道要拍多少部了。。还有韩国电影进步那么多怎么就不能把语言这块找个专业人士整明白了呢？这中国话说的不如找几个中国演员演更专业，我是英语不好，我极度怀疑英语说的也不能咋滴。
新女主能力太强了，有点过分了。期待新老女主在第三部相遇。
还挺好看的啊 除了上海实验室讲中文的和那俩货尬聊
魔女1令人惊奇，很大部分源自角色的反套路设定，即使故事人物都极其单调，但仍有一种磁性，可以说是一部“高颜值”影片。以至于期待了魔女2很久。2拥有更复杂的角色阵营，但只是好莱坞爆米花里常规套路片一样的耍花枪，画蛇添足，故事上也比1更复杂，但没有带给影片更深厚的内蕴，反倒令叙事松垮。
赛亚人都打不过你，小11更是不用提，中文口音都能尬死一大片。
韩国人好好拍自己的电影不行吗？干嘛老是喜欢q中国，自卑心作祟？高潮的战斗还不错，只是这战力估计下集要崩，都TM快会时停了……
3. 果然还是金多美yyds
三颗星，但特技着实 可以加一星，那尴尬到不行的中文不如不说。 片尾大战这战斗力，复联+正联 都不敢近身，欧美超英真是弱爆了，还得看 韩国赛亚人
6.5分。当年第一部字面意义”一巴掌把人拍墙上“，还是让人印象很深刻的。但没想到第二部直接把故事又复述了一遍？？？讲完了姐姐讲妹妹么？第一部还勉强可以用增强人体能力来解释，这次就直接上超能力了啊？？问题更大的，是第一部里女主主动暴露的心机设定到了第二部完全没了，整个故事桥段变得滥大街，也就最后的决战场景勉强还能看看了，后面的3应该还会看吧，不过肯定是不会抱太大希望了。
我想看第一部的接下来的故事啊，不想再看另一个魔女全新的故事了
第一部惊艳的是魔女的打斗戏，开创了一种火云邪神式的碾轧打法，第二部不说这个剧情了，五官都没办法演这个打法。
第一部惊艳的是魔女的打斗戏，开创了一种火云邪神式的碾轧打法，第二部不说这个剧情了，五官都没办法演这个打法。
依旧是装神弄鬼风格，但是剧情更加稀碎，生化人进化成变种人了，简直是神仙打架。惊喜的是第一部魔女回归，短短几分钟出场表演吊打这些新人小孩。
虽然这人脸有点傻傻分不清楚，韩国人强行说中文实属尬，但是算个小爽片
虽然和第一部在关系上没那么大，但故事模板还是一样的，套路还是那个套路，然后动作和能力设计的更加干脆。
6.5分。当年第一部字面意义”一巴掌把人拍墙上“，还是让人印象很深刻的。但没想到第二部直接把故事又复述了一遍？？？讲完了姐姐讲妹妹么？第一部还勉强可以用增强人体能力来解释，这次就直接上超能力了啊？？问题更大的，是第一部里女主主动暴露的心机设定到了第二部完全没了，整个故事桥段变得滥大街，也就最后的决战场景勉强还能看看了，后面的3应该还会看吧，不过肯定是不会抱太大希望了。
第一部有多惊艳第二部就有多失望，女主比金多美漂亮，但是一点都不魔，一个傻白甜木头，李钟硕像个大姨
这个就不得了了，美国的超级英雄能力各有特点，思密达的改造人就比较随心所欲了，瞬间回血，意念控物，自动防御，一个集合了我爱罗、四代目火影、霸王色霸气、超人、浩克、万磁王、死侍各种能力的开挂魔女，我真怕她一个用力把地球给弄爆炸了
看得真心尴尬，找这么多颜值演员拍成人动作片多好。
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