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
看了一集，作画还是典型的棒制美式动画，鉴于无其他的必看优点，弃
整体感觉好恶魔城哦，然后剧情很土（还没有恶魔城土中带着狗血刺激那种），女主的配音听着很困。就卖卖情怀了
男主太废柴了，有一些剧本的小漏洞，但还是很不错了。
韦瑟米尔大叔当年能打啊，一人战狮鹫大狮鹫还有别的无数怪物。女术士引怪攻凯尔莫汉解释了它现在建筑的破败。杰洛特小时候是个光头
偶然发现这个讲述维瑟米尔——这个我最喜爱的巫师系列角色之一的电影 简直就像捡了钱一样开心
剧本非常精彩，作画顺畅精致
除了节奏有点快，拍的蛮好的，抓住了猎魔人世界的精髓
前半段很惊艳，反转一个接一个看得太爽了，后面和三个越狱犯搏斗这一段就太扯了，尤其是老爸出来开车把大胡子撞了之后居然男主就不管他了，编排太弱智啊！所以4星不亏
1，失败婚姻真是爱情的坟墓，实体的。
各种反杀再反杀，夫妻嘛，再怎么窝里横还是要一致对外。结局太搞了哈哈！
喜欢这类多视角叙事的。前十分之一不断反转：螳螂捕蝉黄雀在后。后面就套路化了，删掉老爷子的多余剧情会好些。本以为最后还会有反转的，哎～
十分好看的独立猎魔人故事，喜爱小说和游戏的人一定会超级喜欢
非常有意思，又扯蛋又血腥，像极了一口闷的伏特加
啥系列也没看过，单独作为一部动画电影很好看。
冤冤相报何时了与非我族类其心必异。杰洛特居然是个光头？震惊，青草试炼居然可以生发。
“非我族类，其心必异”。回忆太多，反转太仓促。
看导演识风格，一贯的荒诞黑色幽默，一对嘲讽拉满的恩爱夫妻。
除开玩过3代游戏+看完全本小说的情怀加成（这个浪催又浪漫的老爷子啧啧啧），看看本作的战斗戏也值回票价了。
导演应该没玩过原作游戏，猎魔人可不是无双。
#7.3# 反套路、喜剧、cult都玩儿的很到位。 片长再缩缩，就完美了。
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