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
2022年还有西部片 赞 不过距离经典的西部片差了点 比利小子真是西部片的图腾啊…
you go see it
开头野外捡钱的一段神似《老无所依》。扮猪吃老虎的爽片，大白天的正面硬怼一挑12，哪怕兰博都得事先埋炸弹靠机关。话又说回来，老亨利这江湖老手了，深知不义之财来得索命，他不应该捡钱才对。一看就知道肯定不是网飞拍的，老亨利怎么可能死呢，如果效果好观众买单，肯定要整个续集的彩蛋才对。
这未来和平了就没有主义了
后现代西部片，细腻、苍凉。比利小子依然神一般存在。
看到正统西部片的惊喜和结局这个心里难过的反差真的好大！
在音范丝随便下的，质量一般。剧情我很满意啊，西部片标准剧情，另外从他第一反应是杀你的孩子开始就应该把他干掉了好不。
看的时候想起藤泽周平的武士小说，默默无闻的小人物，受困于艰辛生活，性格懦弱，被家人看不起，但其实是一个身怀绝技的侠客！
劇情雖然簡單~但不管是表演或是拍攝手法、背景音樂~都非常用心~味道有拍出來~非常喜歡~
故事简单老套了一点，不拖沓，浓郁的西部风情是我喜欢的。摄影不错但也可能是风景本身太美的原因。
人如果是坏的一出生的就是坏的，救了他不止2-3次，为了出名反手就是偷偷开枪弄死，真的垃圾就是垃圾，第一次他儿子被架上刀子的时候就应该弄死了。
3.5，故事很简单，但是完成的非常高，大量的环境描写有别于传统的西部片
我都看了个啥？讲故事的话，我没听太懂，这个比利到底有多牛逼？动作、枪战的话，《英雄本色》小马哥甩你们好几条街，而且就你们这拍法，只能证明当时人们可能都脑残+体残。悬疑？有你们这磨叽的劲儿，医生和警察不早就请到了？家里养伤那位，一醒来就扑到你家公子，怎么会是好鸟儿？最后，我竟然无法找到合适的标签来给这个电影进行定位。....
不是说老亨利不能死，不过老亨利的死是说不通的，以老亨利的背景，可以想见当初将人带回来时，一定将该人搜索个遍了，以寻找他可以透露的身份信息，所以，类似手臂纹身是一定不会被忽视的。随便说一下，当初《巴斯特·斯克鲁格斯的歌谣》里的亮眼表演果然是人才。
笑死个人，一个冷门电影的短评还有人复制粘贴，给你俩点赞，让复制粘贴的火出圈。
原来是讲比利小子的，但我根本不知道有这么一号人😂儿子这角色有点讨嫌…
节奏太喜欢了 特别棒的沉默寡言的柔情故事男的西部Home Defense的故事
质感还行，就是可能看着节奏有点慢，西部片是电影产业不可或缺的一部分啊
继《正义的仁慈》后，蒂姆·布雷克·尼尔森再度演技炸裂
味道不错，有时代感，特别是对西部片质感无法抵抗，借着比利小子的故事讲了个农夫与蛇的故事
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