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
威尔逊瘦身成功后来抢amy schumer的饭碗了吗？amyschumer那几部喜剧片子就不讨喜。你说我外貌协会也好，我还是想看凯特哈德森安娜法瑞斯这样的金发大妞演喜剧。
作为一个法科生很难不全程分心想双胞胎和背后主谋的故意伤害罪……
fat amy瘦了好多啊！有点显老，像阿黛尔。Rice妹妹不是很美，但很清新。老套的剧情没有太多惊喜。下饭ok。最后她终于戴上了梦寐以求的皇冠，穿着妈妈挑的裙子，dance to power of love，小木屋开party，成为了最受欢迎的人，一切如同十七岁时设想的那样。但网络上数万的粉丝也不如现实里一两个知心好友。越长大越要珍惜还陪着你的人，they are the only ones that count.呜呜听到skater boy的时候真的有穿越时光的感觉。"being my realself is the only way for the right people to see me"Alicia Silverstone客串了耶！fuck popularity做自己就是最酷哒！
死亡之后探寻真相，家庭，学校，朋友，颇有悬疑氛围，重新回到生活的轨道，换种角度去看待一切，珍惜拥有的所有，不错过每一个善待你的人。
虽然情节真的挺弱智的，大转折几乎都被煽情带过，大反派突然倒戈，有些地方也挺好笑，是不错的爆米花电影，看到结尾竟然还有点泪目？因为现实中如果一个人从17岁昏迷到37岁醒来是一件很可怕很悲剧的事情，但愿能有电影这般美好完满，就好了。虽然但是，这片子比国内的跳舞吧大象好太多太多了，起码开开心心让人看完（微笑脸）。
传统价值观回潮，追求美好追求卓越就是世界上最美的风景线
看完总是觉得美国高中真好。。不愧是奈飞出品，非常工整，完整。。这个角度和想法，真的好。。最终为什么大家给不了高分呢。。是不喜欢好学生的中规中矩好作品嘛。。哈哈哈。。
好看诶！女主刚回到高中校园的那段真的太好笑了，Tiffany女儿那段展现的形象真的textbook👍
在看预告片时候就爱上了，特别喜欢美高自由自在的感觉，各种有个性的美人儿。女主昏迷了二十年很不现实，而且把女主摔地上的不用负责任吗，二十年她父亲居然没放弃她。哈哈，吐槽gaga像麦当娜。虽然有些槽点，但这个电影我特别喜欢（女主那个演员居然瘦了那么多）
挺欢乐的，好似90-00年代小妞电影，好怀念啊
啦啦队表演真的好青春呀/女主每次花式比fuck又酷又好笑哈哈哈哈
笑点还是有的 就是剧情太老套了 打发时间不错
快乐教育与应试教育的平衡点。
千禧年的流行音乐回忆，完美致敬 Britney！
无脑但出乎意料地没有成为烂片，出其不意加一星
有彩蛋喔～
某种程度上也算是成功了……确实拍出了一种20年前的时代内容🤣🤣🤣但是以现在的观念来看真的好达咩
這檔製作大概是看好胖Amy及YA校園喜劇的結合吧，但她變瘦了會不會不那麼討喜了？而喜歡青春喜劇的……這又不是，真尷尬了 XD 比較驚豔的是從 Happiest Season後再見到Mary Holland及Easttown Mare後再見到可愛的Angourie Rice (原來她也是澳洲人阿! 酷)!
前面的节奏还不错，挺有趣的，但是到了后面毕业舞会那一段就开始越来越快，感觉又是要素太多时常不够了。不过经典复古美式校园喜剧还是很轻松愉快的，一开始还对现在欧美网红所谓的政治正确进行了一个嘲讽，有点意思。
开头超酷艾薇儿！真的，2002我的生日又青回！
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