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
确实俗套，确实跟不上时代，像在看02年的东西，而不是22年。胜在Jen Lo绝美，啊，绝美。
各种刻板印象，印度数学老师哈哈哈，英国人不一定gay但一定要gay，Elementary, my dear Watson.
蛮有晋江小言混欧美狗血内味的哈哈，看着图个乐吧，歌都好好听哦~
还行吧，我也想碰到男主一样的美事儿，白日梦谁不喜欢呢
这部看完我终于可以斩钉截铁地说：奈飞为低成本烂片提供了精致的商业拍摄手法，但骨子里还是净拍些低成本烂片。
比轻轻松的轻喜剧，剧情进展比较自然合理，但是也比较乏善可陈。心情不好的时候，可以看看。
一出音乐闹剧，真热闹，但主要还是“闹”。美国人乱搞真是搞出了新高度，乍看海报还有几分像印度片，但看内容也就只有美国特产了。歌还凑合，但在这部片子里也就是个“闹上添闹”的角色
大臀珍又把《曼哈顿女佣》翻出来炒了一遍，这次变成了男版灰姑娘。
无聊、尴尬、烂俗，跟同类型的诺丁山比实在太差了，男主怎么会这么没有魅力啊SOS
3.5 歌是真的不错！jlo yyds
再美的爱情，也会因琐事而争吵。
就女明星爱上普通男的戏码，hugh grant 的颜值可能还比较具有说服力；而且这里面的歌都不好听啊， 每次marry me marry me marry me say yes 的时候，都脚趾扣地额
美式印度歌舞片，感觉宝莱坞分分钟能翻拍一个。对男主的印象还停留在《上海正午》，没什么变化，发型都一样，就只是老了；女老师的嗓音，要翻拍老友记能演珍妮斯。
速食电影 但是不看又一直想着 所以还是看了... 就很套路...
这是我今年看的最难的电影，just 4 work
情节很离谱，但是整个故事很甜，歌曲也非常好听且洗脑，尤其Marry Me的和声部分，真的太绝了！
后来一直觉得遗憾。
我挺喜欢这个故事的，虽然有很多瑕疵，但是我还是被这个故事感动了。女主治愈过去创伤的代价太大了，但是没有那场车祸，就没有整个故事。
每首歌都好听，不想和诺丁山比，诺丁山更弱智
我已经记不得当时为什么要看这部电影了，但是我真的无数次为电影里的演员表情感到惊讶，为什么他们能这么用力做表情，而且还要给满屏大脸特写
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