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
▪️喜欢的点：
作为一部普普通通的校园青春片，主演没什么个人魅力可真是要命。
酷儿电影的新方向，不再专注于出柜或者应对无休止的恐同，而是专注于queer joy纯粹讲述一个爱情故事，正常化LGBTQ爱情 啊啊啊啊甜死我了啊啊啊啊啊啊啊啊啊啊love triangle、青春校园、体育队x艺术家，设定太可爱了呜呜呜呜继真心半解后又一嗑爆炸的爱情/浪漫/艺术姬片呜呜呜呜太多蠢兮兮nerd里nerd气的puns了我真的好喜欢没办法我就是个nerd，女性编导就是好！！！ 电影里非常supportive的妈妈和开放的学校环境我真的是嫉妒死😭
Paige和Gabby在操场kiss那里，让我想起了我第一次跟别人接吻，也是身体僵硬气氛尴尬，不过回想起来也蛮有趣的。
虽然但是aj小的时候就好可爱，我更喜欢长大的加比（狗头）
超甜的～
无意中看到的，好难得没有任何阻力的感情线哦。色彩鲜明的青春片，感觉很久没有看了。女主有时候好可爱。小时候的几个演员长得也太好看了吧。\(//∇//)\全员相处都很友好，就看着很自然舒服。简直乌托邦一样的小甜剧。欧美人真的感情好利落呀，他们都没有那种纠结，就很清楚的知道自己喜欢的是什么。因为语言的问题就是很多双神的梗，没有办法理解，失去了一点趣味。
姬片剧情也太古早纯情了吧？lgbt不要只剩g啊！
看完脑海内突然浮现一句：迪士尼在逃公主...
坦率面对自己和他人，勇敢传达内心的真实想法。
跑直线是三个女孩唯一能干的“直”事 最后高光时刻谁给Paige画的妆 ？把Paige搞得像得了黄疸 练田径的女孩都好有力量
OMG女通讯录终于能看点老套但轻松可爱活泼有趣养眼的青春校园片了🤣
超治愈的～
这片子质量还行，有一些不错的笑点，能笑得出来；剧情里也没啥坏人，氛围挺活泼挺HAPPY。只是可惜是同性爱情，这不是我的菜，再就是剧情对我这个年龄有一点点幼稚，看一遍就可以了。我给3星6.6分，删掉！
女主的朋友好好。虽然早就猜到了双神是谁，但是看完真的好快乐啊！我还做了相关的梦hhhh 还有“总统大人，第一先生”那里有、甜
two mins Cassie&Izzie track kiss top this whole movie
抛开CP而言，剧里的一些反常规设定也很有意思。主席大人和第一先生，少见的异性恋是允许在学校里亲热的吗？简直是女权姬仔的乌托邦了。小时候的佩奇和AJ好可爱啊！AJ是什么酷酷女孩儿！穿搭好爱！
烂尾。最后公开在台上谈心、kiss的情节怎么看怎么突兀，结尾女主自白又扯到"be yourself"上了。
so cuteeee arrrrr fxxk！
当一个AI穿越天际来到你面前，问你：“ 你现在，幸福吗？ ”生活在智能世界里有多方便？AI的出现，是为了服务人类而设计的，当真只要你的命令正确，AI就能明白你的意图吗？假如没有写入“喜极而泣”这一命令，人类的弯弯肠子AI岂能懂得。最简单的道理总是最简单的“人”会记得，这也是现在许多科幻作品在阐述的命题——人工智能的初心。如果真的可以发展到非常便利的程度，希望是人与人之间而非人与机器之间还能记得互相问一句：你现在，幸福吗？
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