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
海报设计的不错，剧情上走的是“盲侠救女”的经典路子，人物上除了安志杰，女反派稍微可以，其它就泯然众人矣……
动作戏勉勉强强，文戏基本上没有故事性，助手和女儿的戏没有起到结构性的作用，就是打打杀杀，还打得莫名其妙。节奏感既无，又无推进故事的线索条理，打戏是演员尽力了，但是也缺乏精细的设计和主轴，烂片无疑。
啊啊啊啊啊好长时间没有看动画片了，感觉好可爱啊
甜甜圈可爱，冲着甜甜圈多给一星，剧情一般吧，还有我超想知道最后那个甜甜圈蛋孵出来个啥
影片在动作和特效方面还可以，主要问题都在人物刻画和画面营造上面，杨杏和张亚奇明显是想塑造成小丑和哈莉奎茵那种神经质雌雄双煞，可惜用力过猛了，卫生间的铺垫有些鸡肋，而法院的展现显得特别夸张；而作为大男主的安志杰在一众呆板可以的任务当中，显得演技很是在线，但是为了塑造这个角色的成长，整体上有些偏于逻辑了，这方面不赖他，编剧的问题，而导演的问题是画面语言的处理过于潦草，没能将故事讲的简单明了，预告片不错，正片跑品质也就五分的样子吧……
这是一部不存在剧情的电影。其他的就不说个。心疼投资人。钱是大风刮来的吗？
很童趣温和的一部电影，即使是作为反派出现的那只狗，形象也是可爱类的，是难得的低龄儿童也适合观看的电影。
制片国家/地区: 中国大陆
英文版真的很好笑啊……大人也觉得好笑，而且这不是针对儿童的电影吗？有一说一，既然大人觉得幼稚为什么还要看还要以大人视角评论呢😂
冲着制作团队以及中配版阵容去的。意外地好看，剧情有点点老套，反派有点出乎意料（对动画电影而言，‘病娇’属性的角色这两年才开始变多的吧）。但还好节奏紧凑，故事主线明显。最后，还要为马正阳马老师鼓鼓掌，对声音的控制能力太强了！观影的时候根本没发现是他！也有可能是我对他的声音不够熟悉哈哈哈
说回剧情，这个因为多年前下令进法院救人质，结果眼瞎了，还因为误杀了她男友，与女杀手结下根，多年后女儿参加表演，被绑架，越狱的女杀手骗取他信任联合一同找女儿，实际报仇自己的敌人麦昆犯罪集团，最后女杀手身份被揭开，搏斗一场，好在故事尽善尽美的结束了，整个片子打斗爆破很多，并不假，是让我没想到的
孩子想看，就一起去电影院看了，上座率很高，内容一般般。
李子雄又出来打酱油了，一会儿。安志杰还在认真打，挺帅的。女反派真的很暴走萝莉疯癫款，什么都不在意，我杀杀杀。女儿还是很坚强的，被富二代虐了一轮也没影响。
各种塑料普通话非常丰富，包括川普，上普，东普，台普以及不知道哪里的普，总之只需要听不同的普通话口音就可以分辨角色了，非常贴心的考虑到了视障人士的观影需求
动作设计还是比较凌厉有力的，安志杰的表演还是很不错的，过去他老演反派，但我觉得他人很帅，动作又潇洒漂亮，不知道那么多导演主要看中了他什么而让他演反派？女主竟然是反派，动作还可以，但表演有些生猛了……故事倒是完整，但有bug，比如金刚的衣服一会有血渍，一会儿没有，希望但要注意细节
画风很可爱，五岁宝宝觉得一路笑点很多。33岁的宝宝觉得很创意，但是笑完之后没有什么值得深思的东西。陪孩子看个热闹，还不错。
很童趣温和的一部电影，即使是作为反派出现的那只狗，形象也是可爱类的，是难得的低龄儿童也适合观看的电影。
节奏和人物是亮点，可惜剧本跟演员不太行。
网大里也算得上用心的作品，安志杰奉献了精彩的演出！女一狠劲可以，但是和她戏里的老公一样太爱装X，以至于过于中二。扎昆手下两大悍将的口音听的我这个出戏……
剧情略有些硬，搞笑不错，中国元素丰满但是都是外国制作人
Copyright © 2015-2023 All Rights Reserved
