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
十分有趣的美国人看世界的纪录片，2021真是既糟糕又混乱，充斥着越来越多的对立和消极情绪，不过我觉得这并不妨碍人类走入更加糟糕的2022。
用几位演员客串一年中发生的大事。这方法叫做跨界或者融合。看这个片子感觉美国也有不少傻逼，甚至不比我们少。
2021比2020更加幽默，辛辣。
笑不活了 全程只有“阿梅利卡要完蛋了“的感觉 可惜没有放拜登上飞机摔跤和会议拉裤子的部分😊
但从另一个角度看，当今世界意识形态真的是超级割裂...
这个系列好比慢速跳楼，在落地之前还会期待下一层的窗户里能看到什么。
没有新意 再看第二次就会有点厌倦 这一次的讽刺力度也小了一些
各种对美国的反讽。2021虽然很乱，但应该不是人类历史上重要的一年。
但从另一个角度看，当今世界意识形态真的是超级割裂...
一年比一年闹剧化，最不可思议的果然还是现实
把SM拍得这么唯美、纯情，这是类型电影的极致啊
看完气笑了。谁能想到2021比2020还烂呢。
1、讽刺力度比2020去死差很多；
人们没有从2020得到教训，此片可以结合《Don't look up》一起观看。
当冲突能带来利益，既得利者们开始引导甚至制造冲突。
笑点跟去年那部有过之而无不及，去年还一边笑一边感叹天灾无情，今年就全是在摇头叹气人祸胜天了。
（ps：个人认为影片整体传达观点全面而客观，但其反讽演绎形式需要观众有独立思考，不易愤怒的基本素养）
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what did I learn in 2021? I learned that nobody learned anything in 2020.更像正经纪录片了，可能真的是太离谱笑不出来了
又是荒诞，可笑，苦难的一年。说的就是你——老美。🐶
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