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
2.前半段还算可以
实在是……没看完，我都不太记得为什么我会有这个电影……不太理解到底在讲什么……就感觉反复吵架+上床+和好，为啥？没别的事做了吗？从中间开始我就在看手机了……不过女主还挺好看，插曲啥的也不错（两颗星的理由？啊哈哈哈）
比第二部好看点 就是这个樊思儿子属实没啥必要 还不如点在女主她爹 还有感觉Hardin越来越像Big了
别再拍了吧就是说，作为电影这个剧情还怎么发展？你搁这拍美剧呢！
一遇到问题就啪啪啪，但啪啪啪不能解决任何问题。男女主一直在这样的恶性循环里，这一部虽然感觉慢慢好起来了，但是结尾是什么鬼？一家人没一个让人省心的👍🏻
男主脾气太差了，简直是炮仗，一点就着
忘说了…第一部在女主和高中生分手回到宿舍之后，竟然很磕女主和她舍友。
被IMDB8.2的高分骗来看网飞拍的这部女权电影，女主角苏尔亚妮参加太阳剧团派对被下药偷拍决定调查，发现拉玛苏玛诺以所谓的激发“灵感”利用一辆出租车下药偷拍了很多人侵犯隐私，父母碍于拉玛家族的势力和声名还只能忍气吞声，学校的道德调查委员会也与拉玛串通，发声的几个受害者联合起来抓到开车的司机却被拉玛带着人毁灭了大部分证据，无奈的几个发声的人只能被逼带着复印机上了学校天台散发控诉报告或者头像传单，以此抗议……影片的故事本身比较无趣，除了反抗和发声以外，还通过主角的父母有一些对宗教束缚的影射，整体比较平庸。
为啥2021了还有这种狗血剧情啊！！
真的很狗血 但我真的很爱🙏🏻 互相嫉妒互相吃醋互相折磨的剧情果然上头🥺 Hardin完全戳中我 又奶又狼我直接救命
怎么说呢，有一种扒美女裤衩抽猴皮筋做弹弓打你们家玻璃的感觉。
最大的财富是... 哈利波特8搞快点！LOVE！... XDDD
第一部太惊艳了 我只喜欢看他们两个人在一起
男主脾气太差了，简直是炮仗，一点就着
很套路的冒险喜剧，但是挺不错。桑德拉布洛克自己都说过了做这个的年龄，男主很呆萌。客串的皮特就是来抢戏的，很帅很搞笑。推荐。7/10
通过电影增加了对印尼的了解。贫富等级对立的矛盾，用偷拍和上传网络、掩盖真相这些事件来承载，力度显然不够。为艺术作恶的富二代，像过家家一样，不是个合格的反派。
什么鬼扯结局 剧团其他人就看了这些瞬间相信了？ 简直比之前收集的证据还薄弱。。。
中文标题什么鬼？电影开场和结尾都是以极具戏剧张力的方式呈现，对照剧情，极大地提现了现实的无可奈何。影片无论是镜头运用还是表演都略显生涩，大概三星质量，冲着印尼小语种，额外多给一星。
只能给在健身房doi场景的⭐吧，真是这样也能有第四部也是绝了。浪费我熬夜哼。
大蠢片（褒义）。其实是卡普拉式神经喜剧，冒险部分在110分钟的片长中有些过短了，但老掉牙的动作桥段依旧有效。
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