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
第一部音速索尼克，第2部超塞索尼克，第三部黑悟空，哦不好意思说错了，黑尼克
场景还原比上集好玩多了，全家欢电影没有什么背景阅读挺好的，预算还是很穷，金凯瑞超级赞
开开心心、没心没肺，相比第一部是全面升级，非常称职的合家欢娱乐片，很可惜派拉蒙放弃了大陆的上映。
大话西游正片以外拍的最好的一部了，能看得见的穷剧组啊…观感一般，致敬达叔最后一部电影，该给四星
看得出来这部跟游戏本作有了关联，虽然有些桥段没有添加的必要。（感觉婚礼就是硬凑够2个小时...）上部说纳克鲁斯要来还真的来了哈哈哈。要是为了填充第三部剧情的话，会不会有金属索尼克呢...毒奶一下，中了的话就可以摆脱毒奶诅咒了哈哈哈。
其实创意和点子真的很不错，故事也算得上自圆其说，就是中间那一段太拉胯了，叙事技巧不足以支撑故事结构。
开开心心、没心没肺，相比第一部是全面升级，非常称职的合家欢娱乐片，很可惜派拉蒙放弃了大陆的上映。
二十年前，你以为自己是齐天大圣；
这是把各种俗套全放一起了吧，不过看着金凯瑞夸张表演还是有趣
紫霞是美女，加一星。
后面女主含泪微笑的那个镜头get到一点演技（感觉再磨磨演技以后发展会更好啊！毕竟长得真的挺好看的）。
海下神庙，冲刺机关，融合，超级蛋头博士。
为啥刺猬惊叫声听起来那么出戏那么令人生厌
不知道在电影院看会怎么样，但整体还是蛮好的。索尼克的两个朋友都来了，依旧不打不相识。索尼克有了点蜘蛛侠邻家超级英雄的感觉，更接地气一些。对小朋友来讲。
这个叙事和节奏实在太老套了 即使游戏ip真的不好拍也不应该这么敷衍了事 本来就是个老ip没有多少粉丝基础 靠着节约成本实现盈利倒不如不拍 金凯瑞是多么适合现在的商业电影 但只能在这种三流片中混口饭实在可惜 这个故事这么勉强拍三部曲多买游戏能多卖多少呢
这几年网大好的也不少，这一部除了情怀之外确实也还可以，这个紫霞真的好美，我看见她第一眼就想到一个成语“明眸皓齿”
20年影院复工时看第一部时，杭州的那个影院空荡荡地，只有我一个人看，所以第一部里索尼克自己形单影只在球场自娱自乐将孤独放大了数倍。第二部终于有了更多伙伴，不过第一部里和甜甜圈大王互动比较多，这里和真人互动少了许多。金凯瑞还是那么奋力展示着喜剧天赋。但人物的简单，即使他努力搞笑也显得孱弱。第三部注定会再加入新角色，只是编剧能不能写一个好一点的欢乐剧本呢？
娱乐性强，自古红蓝出CP（不和守护者联盟联动和龙珠的赛亚人联动了）
虽然特效拉胯，但全篇都能让人入戏，还是可看的
西游之吸星大法，西游之终极舔狗，西游之三生三世十里桃花…多一星给达叔~
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