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
好喜欢这种日常不装逼大傻子娱乐化电影，我生活挺烦躁的，喜欢看这种不动脑子的
绑匪跟jc都是傻子一样，比吾先生差多了，翻拍失败。
整个剧情感觉很僵硬，即使改编也没有提高影片的质量，很看小说一个样子。
为什么现在的电影都这么无聊了啊！好编剧都去哪里了？电影还看不起中国的山寨，哈哈
是天气很热还是我很辣。他妈：辣你妹。妈，这段我又得重录。用洗过的钱当脏钱去买东西洗钱哈哈哈。fbi像邮局？较真lose想过警察瘾。史上第一遭黑人脱罪白人蹲监狱！故事简单但是人物都很丰满。
不得不说明明是部真实案件改编的影片，但故事的趣味性真的很不错，甚至还挺励志，V跟犯罪真的是很搭
这么好一个题材拍的这么平平无奇没有high点，写这么多黑人平权的台词，还不忘来几句辱华笑话，导演真有你的
说白了，美国人还是要宣扬那种“为了财富，违法犯罪”很合理的价值观。
感觉挺励志的，不过提醒一下，现实中的法律是很严肃的
CA妈歌Megan的声音太有辨识度了…只是这个公路电的故事节奏有点奇怪…最后的boss战也比较潦草嗯…看的还是比较开心的
who won and who lost all things? And I guess that is really for you to decide.
轻松幽默 分寸把握得刚刚好 结尾也令人暖心
星期三知道她被关在林中小屋之后抗争了那么久，最后被改成了迪士尼类型动画吗？
with房东。也是很好奇她都哪里找的这些奇奇怪怪的电影（）
说白了，美国人还是要宣扬那种“为了财富，违法犯罪”很合理的价值观。
冷饭，就着爆米花和快乐肥宅水服下，无脑小白片，看看热闹，怀怀旧，FIN...
挺搞笑的，薅羊毛最高境界，买卖军火洗黑钱，是个绝顶聪明的主意
6分有点过分了，应该值7分。韩国警察的无能导致了黄政民最后的独角戏，讽刺啊。
没有第一部这么惊喜，但Oscar Issac的嗓音一来就是魅力反差…
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