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
这才是大荧幕回归的最好体验，也可能是《侏罗纪公园》的情怀太杀我，依旧忘不了儿时假期反复观看留下的这个ip对于我，仅次于星战的情怀
但是配乐很棒，有些情节让大人感觉也很激动
熙地港奥斯卡VIP厅，薯条小朋友第一次影院观影
陪小家伙看的原声，她听不懂，但是看的津津有味！
带着极低预期去看，感觉居然不错，动作戏很刺激，就是有点太长了看着累，是属于电影院的电影，巨物爱好者得到了满足~
没有看过之前的(准确地说之前我都不知道还有这个电影系列)。现在真的是万物可萌化了。视觉奇观真的蛮好的，能让人体会到另一个世界。这部比较出彩的就是这么多人物线也不会给人很乱的感觉。人与动物这种话题我觉得还是蛮难把握的，特别是恐龙这种又有攻击性人类又想与其和睦相处的。我想说反派大哥真的，你干的这都是什么事儿…知道是演讲专家泄密了之后，就这么让他随便走了，到最后才意识到原来自己合作伙伴也叛变了。连逃跑都要自己逃跑，蝗虫跑掉这种事儿也预料不到…确实没有一个老板的感觉，凡事儿都自己扛…这部里面花衬衫穿搭看着都蛮舒服的，好希望自己老了之后也很酷啊。第一次买了奶青配冰淇淋球，很好喝，但是三分糖还是有点甜，下回可以买不另外加糖的
大人说着孩子语言，这不是古希腊神话的精髓吗
没错，陪孩子上电影院看的，故事情节总是太老套，但是孩子喜欢。
2022年，陪女儿看的第一个动画片。超出预期。
没有必要被拍出来的一部续集，既没有拓展延伸新系列的世界观，也没有讲囫囵一个有趣的新故事，老三位回归更加是莫名其妙。城市追车，丛林沼泽几场戏挺刺激，IMAX厅里的视听很带感，仅此而已。整部电影就像是为了一个不到三分钟的游乐项目排了整整两个小时的队。
陪娃去看的，U型枕都带好了，结果发现还挺好看！
第一次带娃去电影院，演到高潮时，全场一片哭声（因为害怕），终于知道为啥电影要分级
恐龙5星，人类0星，综合一下2.5星
2022年第2部院线片。4/10。
TA们有钢铁侠的大厦，TA们有蝙蝠侠的车车，狗狗拯救世界耶～
心心念念的汪汪队果然没让小主失望。
感叹一下也到了这种陪小朋友看动画片的年纪了……
导演为了表现zzzq，给女黑群演，男黑群演，亚裔男群演，各一个大大的特写。求生欲满满。
狗狗们集结的画面神似妇联，酷炫的新战车也让人激动万分，汪汪队周边卖的好，莱德才能更有钱买更好的基地。
超赞的电影，制作的太棒了，一定要有续集啊！可惜没有在电影院看，不然肯定可以和孩子们一起唱主题曲！
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