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
看一个电影讲解说不错什么的，好奇的来看看，结果看睡着了，里面搞笑部分真的太尬了，不得不说幽默真的是天赋吧。剧情也奇奇怪怪，不过女主感觉演的还不错
同人作品的意义,或是补足漏笔,或是满足幻想.而本片所述的,无疑是用大话故事的果来展现故事的因,剧情本身其实毫无起笔之处,也并不让人觉得那个故事的巨大遗憾会有新的饱满
编剧应该是在deadline 赶完了剧本。
作为一部网剧的确还不错。女主竟然是天水妹子也是惊呆了。这部大概是达叔最后一部？
相当用心的网大了，但是也是原版bgm加分太多了
就是说还可以。服化道不行情理之中，演技还行过得去。
我觉得还行啊，最起码里面没有什么整容脸。我的齐天大圣在哪里？
穷得让人心酸，但是故事真的还不错。。。如果有钱好好拍拍就好了，我喜欢这个剧本，多给编剧一颗星
很好呀，前世我可能手拿金箍棒，可现在我已经没有前世的法力，只是一个手拿擀面杖的普通卖面小哥，我拔不了你手里的剑，成不了你的点灯人，可我还是想在陪你再找点灯人的路上时饿了能给你煮碗面
挺好的啊，起码比那些投入巨资洗钱的拍的要好，剧情挺好
好故事比有流量重要，好演技比长得美重要。瑕不掩瑜，居然有点想哭。
导演有几个情怀玩的不错，看到那些场景浑身鸡皮疙瘩，剧本也过得去如果拍成国漫可能这个系列还有救，现在大话西游除了前两部是金箍棒后面所有都是擀面杖。
演技尴尬，剧情老套，连摄像都感觉不如抖音短视频。蹭了大IP，就觉得能捞钱吗？
强行贴合老版大话西游，但是至少讲了一个好故事，浪费了我八十分钟。
没了周星驰，强行模仿。把香江剧情改成了黑龙江味道。可劲扒拉吧。
好故事比有流量重要，好演技比长得美重要。瑕不掩瑜，居然有点想哭。
缺点肉眼可见，意外地好看：
最开始没有多大期待，连刘镇伟都翻拍烂了的ip，换了个导演，还是网大，虽然有达叔......但是看完之后，太过于惊喜！这是大话西游两部之后，最精彩的一次翻拍，选角很到位，剧本扎实，最后三十分钟是真的好看，觉得不好看的各位请耐下性子慢慢看完，不会失望。
在网大里还算可以吧，达叔遗作的宣传噱头稍有夸张
继灵魂摆渡后第二个没打低分尽情辱骂的网大…虽然制作仍是存在问题，奇怪的台湾腔和男主选角，但没有垃圾翻拍低质魔改，把很多年前看的紫霞那一块补齐了，故事情节挺合理的
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