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
其实漫画版的立意挺高的，关于一个自我认知的故事，也是一个有点哲学意味的命题，值得每个人思考的问题。但是真人版很多设定有些混乱，借尸还魂、灵魂寄宿、天马行空的幻想、乱七八糟的一锅炖，套了一个失忆的壳，男主自我成长的起承转合逻辑不自洽，全靠路边暂停来转折。不过百合那个妹子很有模特潜质。【TEPES】
给特定人群看的 队友正好是十几年前在美国上高中的那一代 所以看着特别有感触 而我因为没有这种经历就看的完全无感觉甚至觉得有点俗。。。
睡了20年醒来后世界更保守了，HOW COME（doge
[视]亚马逊流媒体。<意外的幸运签>，有泰国版，无功无过，整体氛围轻松，颜值不如王源，多人合饰一角，校凌、lgbt元素，你喜欢的和喜欢你的
bgm都好有年代感hhhhh
55555555😭 clueless的女主彩蛋好残忍 像是给小妞电影营造出来的美丽幻境安了一个无比现实的结尾 我明明还在梦里就被一闷棍打醒
买行吧，轻喜剧，设定还挺温情讨喜的，瞬间长大了，我们不也一样么？
真是应了中年少女这个词 表演17岁的心态和动作有些做作 总体上可以接受
很久没在netflix看到让我笑出🐔叫声好几次的喜剧了
不用带脑子看的轻松欧美校园电影，女主心态真的有够强大的
所以很多人高中时Bitch，二十年后仍然是Bitch，哈哈哈哈
很棒 跟着时代进步拍校园青春片 歌舞很好看 小女主很漂亮！
真的很爱看校园美剧！轻松又快乐！女主穿着20年前打算穿的裙子出现的镜头、拿了舞会皇后、毕业典礼的最后集体跳了一次啦啦队的舞，都是完成了她20年前没完成的事情，让人真的很想哭！最后升华主题也很值得思考。（女主演员像瘦身后的adele…以及justin hartley总让我感觉在演这种蠢蠢的花心男哈哈哈哈
這個概念有點意思，中年婦女回歸高中異常活力四射，完全大寫的青春啊！超級治癒無腦好笑，就很好啊。
太过刻板和脸谱化，如果是二十年前的话还能接受
丢掉皇冠，那不是打开幸福的钥匙。满意的生活不是外界的加冕，是靠自己努力的发现。
无论几岁，都需要给缺失的部分一个交代。不然可能不需要一场脑死亡，你也会永远停在那个年纪（或者毁掉自己）
居然用了ben platt的grow as we go！！！！这是什么梦幻联动！！！ben温柔 的声音一出来，就想哭
下饭电影，Rebel是不是和网飞签了电影协议，最近几部这种美国青春高效电影里都有她。。。btw，真的是瘦了很多！
节奏问题很大，人物全无弧光，但确实看的很开心，我称之为女性向屎尿屁喜剧
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