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
可惜了，演员都是喜欢的，但故事真的没啥意思。头一次感觉韩语听起来怎会聒噪至此？！不得不说有一度曾经升起了妄念，心说韩国人也许有野心高仿迪士尼打造属于自己的“加勒比海盗三部曲”？因此也等等盼盼那个海中流动的河。呵呵结果证明我实在想多了。姜河那很好韩孝周很好，下次别接这种了。
虽然是网大 但可以看出制作还是不错的 西部武侠片的风格 整体影片音乐还是挺不错的 打斗戏也挺精彩的（虽然人不多）演员演技也是没得问题的
没有第一部好看啊，虽然也没啥联系。只有最后开船脱险那一点氛围起来了。
加勒比海贼王，反派死的壮烈无比，那么问题来了，黄金香还是爱情香
还有光洙，如果你真的想摆脱RM的综艺形象，你就别再演这种角色了。真的，每一个动作我都以为你在拍RM……
姜河那演技越来越好了，韩孝周依然很美，细节演绎到位，跟年下搭戏毫不逊色。小配角们都很敬业。光洙妥妥男二，没他电影拍不下去，哈哈。权相佑身材保持的很好，唉，明明可以成为一线男神，结果路越走越窄也不知为何。特技虽然有抄袭嫌疑，但比我们做得好多了。
偏写意的电影，看多了特效，反而，这是一股清流！
集结了很多我喜欢的演员的烂片。看了一半实在看不进去了……ps，光洙是真的真的没有一丁点的演技
4、男主住的土墙房子，我小时候的家也是……
第一部内容只有一个印象了，就是在空中被吓傻的那只海鸥。
呦，韩国队也开始下海争夺[one piece]了
“宝物有什么用”结尾真是对单身狗的暴击。
意想不到好于99%的网大，男主与张震有相似之处！
这片子尤其适合对传武有兴趣或有些了解的观众，真懂功夫、懂真功夫的主创，才能明白真正的武道的力与美本来就足够精彩，根本无需天马行空地夸张。开场不久提到俞大猷，就知道导演是内行了……
第一部还是热热闹闹挺好看挺有趣的，如法炮制出第二部，所有的复制粘贴出来的东西都激不起任何感觉了。
就看了10分钟，满屏的做作和对加勒比海盗拙劣的模仿，一星给卡司吧。
武痴对战最强刀客人⚔
哈哈哈看了43分钟终于出现了吴先生的第一句台词 全剧大概有10句台词
- [ ] 仔细描写人物，妻子咳嗽，潜在交代【运用上自己的短片———描绘穿着，与衣服的互动～小心思】
剧情虽然算不上新颖，但可以看出来电影拍的很认真，尤其是打斗动作，用心了。有那么点《双旗镇刀客》和《箭士柳白猿》的影子，这个浮躁的社会把武侠片拍到这个程度已经很不错了。电影中沙漠场景也不错，选角也没毛病，如果剧情再做到创新，那绝对算的上院线级好片了。值得一看。
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