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
不过对物品物尽其用和爱惜物品，和最后感觉有一点点相似。
有的点强行搞笑，有的点强行煽情，主题也不是很明确，劝人向善又有点牵强。总之一般。
最后女主打晕绑架犯，对富豪开枪嫁祸给绑架犯，富豪是想让女主生育孩子，女主只是富豪众多女人之一，被绑架者告知女主包里有避孕药
看得出电影主题创意挺好的，但拍出来的效果挺糟糕、无趣的，就挺尴尬的，不怎么好笑，瞎闹一样。听一堆人讲话带着东北腔听着听着挺烦的。
妈呀，这部电影是如何到达5分的。剧情上用了很多谐音梗和烂俗的桥段，感情上迟迟不推进。这种题材做处理要做出新意比较难，但是做出来了就会很好看。显然并没有。
感情戏份，由一把小黄伞引起的暗恋故事，成为了主角最后的救赎，静物化人后的吐槽，无一不是因常年累月的陪伴，遭雷劈是因为“不向善”，因果律。
前半——哈哈哈哈哈哈，中段——嘻嘻嘻嘻，最后——啊？？？？
所以人类最终的朋友还是狗，哈哈，阔以的
谷阿莫，那么长的时间，几个人无法制服一个歹徒？
自己演这么傻逼的电影就不会觉得自己是个傻逼吗？
曾经还在抖音里期待一下，结果这剧里的人都是傻帽
这个能力有bug！说好的静物对话，狗总不是吧？
唉，怎么和你形容呢？除了莉莉柯林斯的颜值，剩下真的是浪费我的时间
和静物对话，想法还行，故事情节内容都太单调，没玩儿起来，给我看睡着了。
一部只有4个人的电影。最后10分钟反转又反转，前面拖沓的很。Lily Colins一个人干掉了两个大男人。
点子很嗨，故事奇差，真的想知道这些投资方怎么审本子的
值得去电影院看的电影，每个人都有烦恼，希望都遇到可以治愈你的“医生”。
焦俊艳1星。（焦俊艳角色负4星。焦俊艳在我心中满星。）幻想概念一星。 无厘头 喜剧 幻想 焦俊艳 对心理学的抹黑反感 焦俊艳你可以接点符合你形象的片吗？爱的我心好累。 片尾：幻想是一件浪漫的事。很赞同。剧中的狗和花可以get到，其他也是大可不必。 看的过程中。感觉有点像是周星驰的喜剧风格，但是没有知识做架构和背景的片，真的反感。国产片好多这种yy。
结尾有点太突兀了，笑点还是有的，bug也很多
还不错的喜剧片，梗都还不错，轻松一笑，阵容挺喜欢。
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