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
"我找不到葱花了"别哭死我…
一世点灯 三生羁绊
比较短，但是看着还蛮有意思的，至少比刘镇伟那些狗尾续貂的电影好看和用心多了。
作为网剧还行，不过也就2星半，炒大话西游的冷饭，但只有皮毛而已，好在男主和女主还行，达叔也不错，也是告别之作了。
如果不抱着重温经典一样的期待，这部电影就能给你一点惊喜
fake it until you make it
看完来打个分，整体质感很不错——摄影、美术、演技和特效比一般网大强很多，而且是达叔遗作，真心推荐一下。
超越是不可能了，不过也有一些亮点，最后花絮达叔靠在墙边的画面一出来，不由得感动万分，片尾曲要加分。
一世点灯 三生羁绊
炒冷饭。五星给吴孟达吧。大话西游系列是对西游记的暗黑解构，通过月光宝盒逆天改命的故事，其实只不过都是佛祖的棋子而已，最终都是悲剧收场
作为网大还行，也算弥补了大圣娶亲里紫霞的遗憾，毕竟这一世是至尊宝先动心的，三星鼓励一下
看了，因为经典在前，加上配乐多少能打动人，女主可以，期待以后作品，整体勉强及格
缘起原来指的是大圣娶亲的缘，重构了一个新故事，当至尊宝还拔不出紫青宝剑，这个前世的故事设定真的很好！很好哭！齐天大圣只是一个名字，每个人都可以是齐天大圣。因为紫霞，至尊宝成了齐天大圣。
"任何人都可以是齐天大圣"立住了，观音大士撑起来了片子的立意
吴冰插上毛呲牙那一下
一星给服装 特别是青霞的这一身
一星给马心瑞 很有灵性 这妞儿一定能火
灯妖大战《星河舰队》虫海，满打满算1小时10几分钟的电影，就记住了一句话：我一直想把你变成我喜欢的样子，可我早已离不开你现在这个样子。
"任何人都可以是齐天大圣"立住了，观音大士撑起来了片子的立意
关键是这个紫霞笑起来真挺好看的，让人能够看得进去哈哈哈哈！！
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