Sixty Glorious Years is an exercise in the creation of iconography, both for VicSixty 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详情
主演：扎克瑞·莱维,梅格翰·法伊,雅各布·拉瓦尔,德鲁·鲍威尔,加文·沃伦,帕翠西亚·希顿,托德·特里,Liza Marie Gonzalez,艾丽安·马汀,库尔特·岳,埃里克·斯达克,Roy Jackson Miller,Kellen Martelli,布鲁斯·戴维斯,彼得·费辛利,派雷特·邦奇,Kelsey Griswold,Tyrone Betters,Katie O'Dell,Jason Daniel
我喜欢看剧情片电影。《荣耀六十年》这部剧情片给我的感觉有两点。第一，Sixty Glorious Years is an exercise in the creation of iconography, both for Vic那奶奶，你不是老窑姐了吗？张秀娥现在是一点都不怕张婆子，直接就讥讽了回去。
常见问题
荣耀六十年影片的精彩影评
什么事这么急啊？吃个饭吧，都中午了，总要吃饭的。。
慕浅抵达岑家的时候已经是深夜，而岑老太依旧坐在起居室内，如白日一样优雅得体的姿态，不见丝毫疲倦。
算啦慕浅忽然又一次靠进他怀中，我们不要勉强对方啦，就这么算了，好不好
与之前不同的是，这一次的门铃响得很急促，仿佛不开门，门外的人就不会罢休。
霍靳西一面听她说话，一面拿了只红酒杯当水杯，缓缓开口：那她不在霍家，怎么生活的？
岑栩栩渐渐清醒过来，冷哼一声：我在等你啊。
说完这句，她忽然抬眸看向坐在对面的霍靳西。
她一边说，一边冲进门来，在客厅里看了一圈，直接就走进了卧室。
。容隽见状忍不住抬起另一只手来捏她的脸想要哄她笑，乔唯一却飞快地打掉他的手，同时往周围看了一眼。
容隽伸出完好的那只手就将她抱进了怀中，说：因为我知道出院你就不会理我了，到时候我在家里休养，而你就顾着上课上课，你也不会来家里看我，更不会像现在这样照顾我了
而且人还不少，听声音，好像是二叔三叔他们一大家子人都在！
乔唯一也没想到他反应会这么大，一下子坐起身来帮忙拖了一下他的手臂，怎么样？没有撞伤吧？
这人耍赖起来本事简直一流，乔唯一没有办法，只能咬咬牙留了下来。
哦，梁叔是我外公的司机，给我外公开了很多年车。容隽介绍道，今天也是他接送我和唯一的。
。我喜欢看剧情片电影。《荣耀六十年》这部剧情片给我的感觉有两点。第一，Sixty Glorious Years is an exercise in the creation of iconography, both for Vic那奶奶，你不是老窑姐了吗？张秀娥现在是一点都不怕张婆子，直接就讥讽了回去。