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
现实生活中男主会拒绝这么hot的健身教练？我不信
还行啊，评分好低，多年朋友成情侣的剧情真不错
不一样的脸庞，熟悉的配方，标准的团团圆圆大结局啦
為了Urie 小可愛🎄希望他能多點演出機會！
反正就看帅哥吧……Gay film里的有色小哥都很可口，what‘s wrong with hetero Film.ugly Betty时就喜欢的小哥，多少年过去了。
单纯的想过圣诞节了 my only wish 好好听哦
好美好美的感情啊，看到最后真的是很羡慕。不过闺蜜变情侣，属性怎么选，还是有点意思。剧情要是搬到异性恋上算是比较套路而且乏味了，但在通讯录身上却感觉还是比较有新意的。两位男主的表演一看就很像通讯录（男主应该本来就是），演的也比较真实自然，只可惜詹姆斯了，你也会值得更好的！
属于圣诞的欢乐。只是Luke完全成了工具人。
好朋友能成为恋人真的很幸运，而一旦分开就真的会失去一个朋友。Anyway，今天也为别人的爱情猛虎落泪。
关于我乡下的全家亲戚都在嗑我和我认识八年的恋人未满的大城市室友加好友的故事。很圣诞合家欢。（还以为是bg，竟然是bl）
男二真好看。。。
Netflix holiday三部曲里最行的
A：电影非常美式，不断地向观众科普同志刻板印象，一直把gay怎么样怎么样挂在嘴边，剧情傻得离谱，全员表情浮夸堆笑，而且声音高八度聒噪得很，像是撇嘴蹙眉睁大双眼装无辜问为什么你不恋爱？无法想象这个奈飞出品的烂片得到了各个欧美博主十条八条微博的推荐，不可理喻！B：但，剧里，男性演员都很帅气🙊
笑死，找不到男人就和姐妹在一起，不是我一直以来的想法吗哈哈哈哈哈哈哈哈哈
男主居然进入我的观影盲区了 也太帅了吧。btw 实在是没控制住想到了逃出绝命镇
剧情基本就是随时能猜到下一步的片子，不差但是也没啥亮点。实在要说亮点的话，就是Jennifer Coolidge吧，仿佛在看破产姐妹，哈哈哈。
2021了怎么这么白的剧本还有人投 好敢啊
又好看又好笑的，而且还有我最喜欢的布兰妮。🥰🥰
Nike 和Peter笑起来太好看了，虽然可以猜到剧情发展，不过作为holiday movie，氛围营造的很好。
节日电影有这个样子算OK，万幸的是没有三角狗血drama，是成熟人的恋爱方式。不过男主拥有的一切都太不真实了，全体支持的家人，火辣的gay蜜，成熟火辣还稳重的blind date，最后居然可以回乡开绿植店坐拥火辣男友，我的天，有这些前面单身三十年也不怕啊！
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