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
干巴巴的，说了一千遍的老话题，关于性和爱。找了两个演技应该还算靠谱的演员，就搞了个小菜，还没放调味料。
孙锡久硬是用演技演出了一个憨憨。。全靠演员撑起来的爱情小品。
是我喜欢的那种浪漫轻喜剧，虽然俗套，但轻松。让我想起《我的PS搭档》。19禁的台词元素也用得比较恰当，展现了30代男女的真实困境，不想恋爱，但想被爱。全钟瑞演欲求不满的女性居然意外的古灵精怪，孙锡久也有一种性冷淡的奇怪魅力，两人的搭配既违和又融洽，怪有意思的。
为了看孙锡久，但远不及剧集给我的冲击大。 女主很妙，很漂亮很会穿很直接又很爽快的性格，片子还是走的小情调路子，说是缺席恋爱其实是做尽恋人之事只是嘴硬而已。两个人的互动还是好看的。
这种有点weak的角色不适合孙锡久，他果然还是演民工和特警更迷人！我要是编剧，我就会给他量身定做一些打架打到一半滴着汗水开始舌吻的戏码哈哈哈哈（好了sense8已经实现了
一部全靠男女主撑起来的电影。全钟瑞真的太灵了！
全钟瑞，一直印象金钟瑞，哈哈，牙齿不错，一直在喝酒。
剧情一般。但孙锡久真的好奶啊，太喜欢了😄😄😄全钟瑞不愧是电影咖，力度到位👍👍
有个在线的图标。“历经数月，从千人海选中脱颖而出。最终成为李沧东新片的女主角。上一位接受这样大规格考验的是《小姐》中的金泰梨。”本来就联想过这两个女生。| 之后|最近深刻的电影：红色火箭、溺水小刀，等等。|全钟瑞第三部。
只是Kurt从没有放弃过，即使在杂货店他也每天跑步，每天投掷，最喜欢影片里面的 “命运是给underdog准备的”，Kurt从来就不是靠命运获得的一步一步走上NFL的超级碗的，而是靠他自己从不放弃橄榄球，那是他唯一擅长的事。
一些成年人的恋爱。剧本有点弱了吧故事线就一条全靠演员在撑……后半段低走，感觉有点仓促，我喜欢看大家有矛盾先谈清楚，但或许电影拍的也是另一种合理的处理方式吧，感情哪那么非黑即白呢。为两个演员加一星，孙锡久真的扑面而来的荷尔蒙，多看一眼都会腿软的程度，边亲边开门也太特么辣了。全钟瑞真的可塑性很强啊！刚看到电影入围百想了，恭喜。
电影，故事，男女主人物都麻麻地，不过小全果然是忠武路明日之星，孙锡久真的贱贱的萌萌的。
孙锡久咋演到这么卑微？完全像女演员们的性宠儿。就电影来说平平无奇甚至太无聊了点。
孙锡久笑起来单眼皮可太迷人了！！！整部剧尤其前半部分感觉都在靠台词抖包袱，还有那个未婚妻前辈是什么鬼角色，第一次就算了，还有第二次？？？“爱的情感 十几岁时在脑子里，二十几岁时在心脏里，三十岁以上就从肚脐眼往下走了。”😅
虽然套路都差不多但还挺喜欢看这种成人爱情片的，但是即使如此这种男的也是万里挑一好不好韩国人不要再搞这些不切实际的东西了！！
演员不错 虽然故事俗套了点 但完成度还算可以 轻松愉快又荒诞 男女主之间营造的氛围感意外的感觉好搭 台词也蛮有意思的 一些细节处理也还可以 可惜结局仓促了点😂
孙锡久和全钟瑞都好有魅力, 笑起来好可爱, 好想跟在他们屁股后面偷听他们聊天
a man gonna do what he has to do，before he could do what he wants to do. 注定要成为剧本的人生
美国电影嘛，就是这样，普通人都能成为超级大英雄，情节也一般
两个极度渴望亲密关系的寂寞可怜人遇到彼此像抓住救命稻草，没有感受到心动，可能真的是爱情缺席的爱情片。全钟瑞此片造型不太适合她，不然单欣赏美女就可以给三星以上。
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