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
常言道，侠路相逢勇者胜，侠意满满，侠之气概，走南闯北，一身正气，武打场景画面满满的。
快别拿它是韩国版的《加勒比海盗》说事了，虽然都是打怪寻宝，但海盗里的思路是不足的，看的过程中会有些跳跃。
剧情虽然略显平淡，但是武打实在是非常真实，这段时间算是最好的武侠电影了
略显粗糙，但是可以看出认真的态度，动作戏有惊喜之处
打斗其实还能看，但整个剧情稀碎，其实挺简单一事儿非塞那么多无用的，当然韩孝珠是好看的
太过注重表面的喜剧效果，不算是好的喜剧，真的笑不出来。三个主演，二个都喜欢，确搞成这样
第一部已经够好了 就别拍这个系列了 别拍了别拍了
男主演技在线，武打戏很丰富 比较真实 不是那种特效能比的，剧情也不拖拉，值得推荐，真是低成本高质量的一部好电影，很棒，算是武侠剧里很不错的的了，值得一看
我觉得还可以的，剧情还是很流畅的，就是剧情有点不饱满。但是比起现在一大推垃圾电影，这个电影还算是正宗的侠客电影了。整体还行有锦衣卫的感觉。剧情线路好单一
动作设计尤其干净利落，且不浮夸，真刀实枪。摄影剪辑音乐都有一定水准，西部黄沙粗粝感和让人想起动漫《镖客》。导演编剧孙虎毅，主演貌似都不在一线，头角苏振华，一百度首先出来的是同名上将。侠客行，十步杀一人，千里不留行。五星鼓励。
续集和第一部在故事和角色上没有任何关联，是完全全新的故事和角色，略有关联的是几乎雷同的剧情设定——仍是朝鲜建国前后的时代背景，仍是山贼上了海盗船，仍是男山贼和女海盗相爱相杀，仍是弱男强女的搭配，仍是搞笑男+冷面女的模式，仍是朝廷官兵掺和其中，仍是寻宝冒险故事。
剧情稀碎，但还能看。姜河那确实厉害，居然能演路飞。
被韩国古老的朝代搞乱，想学加勒比海盗，但是又没有学到精髓，李光洙真的不演喜剧太可惜了
前边半小时真的看到睡觉，后来才算进入佳境，能给合格分的商业片吧（让韩孝周吸引进来的。。）
天哪为了权相宇看的，就看了个寂寞，出场一共不到十分钟？作为反派好弱鸡哦。这种烂片也能提名百想啊，今年的百想也太水了。
剧情方面有点像咱们中国的《十二生肖》找宝藏的感觉，但没我们拍的好，哈哈哈(ಡωಡ)hiahiahia
还行吧，跟一一样对照模板写的剧本感觉，但得先忍受前50分钟的无聊稀碎剧情，后面开始寻宝才好看起来
特效不错，跟大海斗争的两段也挺刺激，整体故事就是吵闹的爆米花电影。感情戏加的好无聊。
虽然全员脸熟 都算是比较讨喜的演员 但是这剧情也未免太下头了 虽然有几点地方也很搞笑 但是有点聒噪
动作戏出彩，拳拳到肉，刀刀见血。剧情简单，像双旗镇刀客，场景也像，绣春刀一之后的好看武侠，腾讯出的精品。
Copyright © 2015-2023 All Rights Reserved
