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
一口气看了两部Netflix的两部圣诞贺岁电影。讲真， 这部同性的电影反而透着浓烈的腐朽味，主角个个好看。但是剧本完全不思考，男女换成男男，白白换成白黑，照搬套路就想讲个大爱的故事了？ 两颗星给男二男三的颜值 就酱
太老土以至于我一直在大喊救命，为了我最爱的两个卡司只能说辛苦我自己了
Nike 和Peter笑起来太好看了，虽然可以猜到剧情发展，不过作为holiday movie，氛围营造的很好。
像是欧美网红的长篇vlog，加长版MV，健身教练好无辜……
2.5🌟给曾经丑女贝蒂里可爱的“毒舌”GAY和圣诞气氛。男主老了呀！圣诞合家欢电影，但剧情太无趣，两人完全不来电就是朋友。
圣诞将至，温情的主流同志romcom。没有悲催童年、自我摧残、家庭斗争… 爱上了就因为你值得。
預告片也不好看啊⋯⋯ 本想趁假期把Netflix上的聖誕影片都看一遍，我覺得我還是不要勉強自己了，還不如看apple+的snoopy聖誕影集。
🎄的chick flick， 但是基友版的
强行让luke当炮灰，就让两0在一起吧，请james独自美丽，你值得更好。剧情后半段太刻意，太心疼James了，被当做工具人，明明 james才适合当老公，nick就适合当姐妹，奈何编剧作孽，非要姐妹磨 b。但作为国外春节贺岁合家欢片，就不要太严格了。
不可以，毫无火花，如果真的相爱的话就不会做了N年的姐妹了。假，脱离群众的故事，正常人类都会选健身教练。
I agree with the “romcom” & “holiday cliche”. I mean where the hell did they find it they were fit each other? By acting like one? Then fine, i’ll take Luke for mine now lol.
黑人小哥也太可以了，真的爱了，很棒，作为一个爱情喜剧片打发时间还是可以看看的
咱就是说非常的简单且俗套的剧，但是轻松愉快。
和玥宝。Why are we still watching Christmas movies mid-January?
又到圣诞季～卷完其他国家种族之后，又卷到LGBTQ了～总体还是家庭团聚+好友变情侣那套～不太喜欢男主家人操纵感情的桥段，但还是好喜欢圣诞气氛啊～男主妈妈一开始介绍给健身教练时说男主是水瓶座，可是水瓶座把情人和朋友分很开的呢～
第一次看gay看得挺开心，我也想要一个兔子任务。
不要啊，你们是姐妹啊！你们在一起好奇怪啊感觉乱伦了啊！
圣诞新年假期和男友点开的，一开始没看完，发现我自己不知道在哪里看过一大部分。只能说剧情发展无脑推进，假期里看个热闹就行。黑人小哥身材不错，看得我口水直流。
两星给gay主流爱情片。
看了个开头就大致知道结局的电影…挺一般的，片中对美国的LGBT人群的友好度可见一斑，整体上还是很“LGBT”。
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