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
TMD，又捅这里……（毙）这个的确是精华了，差点就给打7分了。这片子摄影画面都很不错的，可惜了导演不太行，剧情简单拍得更简单，演员演技台词也大多是拉胯。
王家卫的武侠意境，徐克的武侠风格。(还有邵氏的风格)
电影名取自侠客行，电影主角却非常不侠客，主角与其叫帮闲，不如叫帮凶：一帮狗官杀人，二帮杀手练级，三帮黑社会火并。
女主很奇怪，剧本有问题，反二的模仿痕迹很重，整体还行
卧槽，男主好帅，武侠动作也好看，一气呵成看完比较爽
虽然经费有限，剧本也没有精雕细琢，但是做到了认真
连六分都没有？不知道怎么想的！
刀口上这碗饭，端上了，就放不下。 人这一辈子，干一行爱一行，始终如一，这也是对自己的敬重！ 电影好看，不可多得的武侠片！
没有刀意纵横，也没有什么终极奥义，难得一见的还原真实刀剑砍杀的好片，很喜欢。
已经超越了百分之九十网大，但是拍的也就那回事，多给一星算鼓励
6.5分/难得的武侠片，导演应该受到了徐浩峰的影响。武术指导加分不少，但镜头感不好，打斗时没有特别多的镜头语言。剧情中期之前还蛮舒服的，可后面就崩盘了，但可以感觉到导演是有理想的，可惜火候还不够。再多拍两部，有机会上大荧幕。
名字取得太大而且莫名其妙倒是真的。
部分武打镜头可以再优化，台词虽然略生硬但故事还算流畅……不太明白为啥低分，网大这水平算不错了
有江湖味道；剑客太文艺了，与身份不符，要么江湖气十足，阴险狡诈，义薄云天，要么你就干脆利落快意恩仇好了，干嘛搞的像文人一样文绉绉的，内心戏太多！
没有一个人在讲人话，剧情稀碎，一个小时过去了还不知道主人公到底想干啥，塑造的江湖架空，架空并不意味着失真，每个人做事都没有逻辑且非常直接，每个人都在端着。你要学王家卫就学到底，要学徐浩峰就学到底，哪怕说你抄袭日本剑戟片你也抄得真诚一点好吗？否则就是四不像、丑八怪
处女作很棒了，打戏确实很好看，看的神经都紧绷绷的。我想导演是致敬林冲吧，故事情节有点像哦。
反复确认 这部电影已经上映一个星期了。很不错的一部电影 打破了我传统对少数族裔影片的刻板印象。音乐镜头不吹不黑 满分吧。很经典的西部牛仔Outlaw never die
看预告片感觉挺好，但是有两点让我有点迷惑，有的镜头让我感觉到了日本武士片的风格，另外就是武器的外型，那把刀挡很西方十字军重剑的刀有点没看懂。
网剧的投资预算，拍成这样，感觉还是不错的！
这个景色和这个服装，还有村镇，我感觉还是挺符合古代的， 下边的人死的死，伤的伤，高层换一批走狗然后接着舞，接着奏乐，接着喝
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