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
看了30多分钟，实在是坚持不下去，这一星冲桑姐和皮特的出场给的，不好意思我撤了
sandra bullock打了这么多医美也没见影响演技啊，非常自然，俏皮的搞笑，我好爱她。好喜欢爱情喜剧谁懂我🤣🤣🤣🤣
就和女主写的带点冒险成分的通俗爱情小说一样，随便看看～ 开头还蛮搞笑的，后面就比较俗套……
冲着这卡司也要去看看/开头就来个搞笑版的反转再反转，三步不忘本行的钱老板出场太有喜感了，终于看到非苹果的笔记本了。丛林大冒险是我喜欢的题材，尽管老套了点。总体观感比较轻松愉快，比前段时间荷兰弟那部未绘制的地图好看一些。p.s. 片尾有彩蛋。
老戏骨们重出江湖了属于是，桑德拉布洛克和塔图姆都是老风格，皮特倒是意外了。喜剧加考古探险类还是比较轻松的。皮特还有一个他主演的新片，期待一下！
2.5,白期待那么久，什么玩意儿啊，找来几个大牌都搭不到一起去，选角定位最失败的就是男主，完全不适合，这不是浪费资源嘛，这不是浪费资源嘛！
嗯符合烂片出好歌的定律 就是说 一把年纪了都别这么为难自己了好不好
桑德拉布洛克这姐已经58了，震撼了，不得不Respect。
桑婆还是厉害，不管什么年代演这类型电影都自带好笑滤镜。
布洛克快60了，体态还是没的说，不过整的和以前不大像了啊。全片快两小时了，压根没在意到底是如何探险的，110分钟左右的时间里的主题就是一伙人的插科打诨。
整部电影只有皮特出现那几分钟还不错。
虽然很typical，但是让帅哥美女演傻逼真的很好笑，这部的查宁就是瞒天过海美人计的安妮海瑟薇。
爆米花片 不想思考的周末看看挺适合 皮特那段太逗了
刚想说只要有布拉德皮特和钱宁塔图就可以打五星，布拉德皮特就被爆头，真.打酱油君。然后就是美国饶雪漫和她中看不中用书模的丛林冒险了。全场就很好笑，满足中年妇女的观影需求
典型取悦女性观众的电影，查宁和皮特都是充当花瓶的，丹尼尔饰演的大反派人设都是蠢萌蠢萌的。女主塞琪聪明又性感，不再是等待男主来救的傻白甜，合格的爆米花电影。
其实我一直get不到桑德拉布洛克演喜剧，但是老美貌似特喜欢她。。这部电影大概就是讲了。。不剧透了，至少能看 brad pitt出现再长一点我还能再多给一星
一个小睡袋背对背
这应该是一次充满寓意的爱情丛林片，虽然丛林，探险，摩托车，手枪这些元素都有，但这一切只是为了寓意。
哈哈，老布出来的时候还是挺搞笑的，然后嘛....
似乎和《黑寡妇》一脉相承，期待着它不止于此，但事实上真的好像只能浅尝辄止。关于无脑小说成真还有不知所云的冒险都在无功无过的轻松下水过，如果在荧幕上看可能是一种全然放松的嬉笑。台词里一些流行文化梗和热议话题的撷取可能是最好笑的地方，尤其在钱老板参演电影里cue《特种部队》。二美老师为什么不能再高一点呜呜呜！杨伯文虽然只是个短暂出场的主持人但还是好可爱好可爱！/但也因为可能之前因为卡司和票房期待有点虚高，接下来《妈的多重宇宙》和《火烧岛》或许需要稍微克制期待。
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