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
emmmmmmm不太好评价，就是。。。输出全靠打嘴炮
因为有电视剧，所以进入状态更快，不需要太多铺垫，但是套路也是一样，新奇感不足。
趁着电视剧热播，赶紧上了个番外电影版。反正还是现代的网络词跟古代背景相冲撞的喜剧效果，傻傻的，挺可爱。
看了《赘婿》，来看这个更有喜感
这个吉吉国王我早在大秦赋里面就觉得他的郭开很出彩，应该去演喜剧。果然就看到赘婿电视剧了。没想到现在又专门为他打造一部他主演的同名电影，看来也有人看到了他身上的吉吉气质！希望看到他更好的角色电影！！！未来可期！
朱自清背影，吉吉国王吃香蕉，居然还有恶意满满的牙签儿梗。虽然挂着电影的虚名演了两个小时电视剧，但是刘冠麟还算撑得住。
网剧要求别那么高了，挺搞笑挺好玩的，更难得能看到老耿，
搞笑可以，但也要有点节操和智商。会用人是商人最得意的地方，到了此片里面就成为了负担。
哈哈，喜欢这部电影，剧情挺带感搞笑的，又用上现代的创意了，古代与现代的结合，让人简单易懂。结尾还留了悬念，期待《赘婿》第二季。大马猴和小汤圆可可爱爱一家人。
合格的番外，虽然有些地方尬吧，但是真的好笑，真的可以轻轻松松去看，一点压力都没有
谈不上优秀，只是前人之梗再来一遍罢了，吉吉国王也是深受宁毅思想的荼毒
下饭电影 有吉吉国王在的地方 怎能不搞笑 如果大聪明在就好了 开始期待赘婿第二部了
一颗星给小汤圆这个称呼，其他堪称恶俗，强行抄梗
对不起先入为主。。吉吉国王就应该当反派就好了。
哈哈哈哈，看完电视剧赘婿，接着看了这部电影，梗好多，依然期待赘婿第二季。
属于高质量网大了，和院线大片肯定是不能比制作的，但是作为一部电视剧的番外网大，已经非常出色了
算是剧版的番外？赘婿IP还是顶的，爽剧爽就完事儿了（吉吉国王真的长在我笑点上了哈哈哈哈哈哈）
编剧很用心的把流行词语都塞进去了，另外女主不丑，丫鬟更漂亮。
063.赘婿宇宙的番外衍生品居然还挺成熟，有点出乎意料，老梗用起来丝毫不违和，经典配角都来捧场（耿护卫居然也有个意有所指的模糊镜头好评），还给赘婿第二季埋了伏笔和彩蛋，自我定位相当清晰，蹭蹭热度顺便给一些新演员暖场～配乐整出了王沥川的味道，小鸥极有可能是在缅怀和致敬
互联网商业帝国的变相成就，创始人的情感及利益之争，用古相演现相。但最精彩的其实是给一些富不过三代的第三代人的成长的启示，这点非常重要，对于过程中的心理现象是值得探讨的。
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