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
天天果断炸飞机是最燃的一刻，girl's power
第一次看这个，还挺有意思，可能需要一些童心入体
剧情超级低幼向，派拉蒙现在成这样了么，有些桥段还是有点意思，汪汪队大战黑心市长，骚当的片尾曲好听。
还挺好看的……配音可以不要把他们的名字念成译制腔就好了。
子供向的东西 但是剧作完整 特效好看 各种机甲变形酷炫但过满
陪小妞看的第二部，还是全神贯注格外开心，也和小妞讨论（吐槽）其中的剧情问题，更是有趣加开脑洞。
老版没死的经典人物几乎都出场了，这情怀加分. 好友里基本都看过,感觉是国内院线同时期没啥别的选择?
完完全全是给小孩子看的电影(大孩子表示童真真好，中的电影票真香)
狗勾的毛看着手感好好，想rua🤤
陪女儿一起看到，阿奇被抓走的时候女儿哭成了小泪人
唯一不足就是苏宁影城3号厅的设计简直反人类，选了最后一排也要全程抬头看，不会再去了。
中文配音与动画片不一样、没有动画片那么可爱有趣～整体电影还是蛮感人的～孩子们很喜欢～
绝对是在映射川普，加上这个人设有趣多了，另外比之前的超能救援提高了好几个档次，剧情别指望有太多突破口毕竟老ip低幼受众！
陪我妹看的 小朋友看的津津乐道 打五星好了
不是那个纯粹的汪汪队了 虽然世界观更大装备更牛逼 但全片充斥着典型的美式爆米花电影的元素 有点low 当然我不能以成年人的眼光来看待 哈哈
谁是妈妈的乖宝宝呀？我以后绝对是能说这句话的人 给我的狗勾
- 替阿奇配音的居然是小谢尔顿的饰演者，听不着真是可惜了。
后半截睡着了，错过的剧情是儿子给我嘴补的，我依然觉得很精彩！五颗星！
话说这两年川普真是给各类影视都提供了素材啊，日常黑川普已经成为一种政治正确了
替小祖宗怀旧粉打个五星，号称十分精彩。娃妈觉得每一首歌都意外地好听。
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