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
中规中矩，没有颜值，没有新鲜的剧情，后知后觉，喜欢这个题材的不会尬，不喜欢的就别看了，没什么可惜。
抖音推荐才看到这个电影，迅雷下载、电视上看完，剧情比较北欧吧，感觉一个小时以内就能讲完的故事，不太像科幻，地壳陷落滑坡导致的海上油井沉淀损毁，石油泄露海面最后烧掉。
而他们自己的储备，就只有北海油田那点儿东西，现在还快抽干了，就如电影里表现的，油气开采导致地层真空，爆发地质灾害，当然这是想象，但不是没可能。
成色出乎意料的不错，技法很娴熟，剧情流畅，虽然戏剧冲突不算多么激烈，即使有一条女主深入险境救夫的主线情节，剧情缺乏一个大高潮，就连最后火海逃生的危机也没有太多的紧迫感，男闺蜜的牺牲、逃生艇中的一系列困境都比较套路。但演员们的表现普遍都出色，冷寂的氛围很深刻，几个大场面也给足诚意了，女主的表现很亮眼。
成色出乎意料的不错，技法很娴熟，剧情流畅，虽然戏剧冲突不算多么激烈，即使有一条女主深入险境救夫的主线情节，剧情缺乏一个大高潮，就连最后火海逃生的危机也没有太多的紧迫感，男闺蜜的牺牲、逃生艇中的一系列困境都比较套路。但演员们的表现普遍都出色，冷寂的氛围很深刻，几个大场面也给足诚意了，女主的表现很亮眼。
現實中隨時可能發生的災難片，女主非常堅強看點之一
看看油井、看看大海、看看家庭温暖，想想环保问题，想想那个用自己命来换人家家庭团圆的人。中规中矩看看
这片子就是体现了自私，用搭档换回自己老公，用全球大气污染换自己海岸线避免污染。
13岁小孩逐梦百老汇，中规中矩的励志片。但放在迪士尼的儿童/歌舞坐标系却是了不起的进步，因为终于第一次【隐晦但明确的】提及男主的性取向了。有人会问13岁能懂什么——至少他懂得对喜欢自己但自己不喜欢的女孩说声对不起。
2022.4.**钻井平台倒塌，女主救男主，搭上男助手性命
theater kid
为了凸显女主大可不必显得所有人都是弱鸡一样
世上难寻好女友，世上难找好同事。
结尾，“原以为我们挪威是石油国家，其实还是一个海洋国家”，态度转变很好，起码有了一种人与自然共存而不是互噬的觉悟。当我们面对环境污染、资源浪费的议题，任何国家都必须要有人类共同体的协作意识，而不是政治宣传中对气候女孩格雷塔进行丑化和羞辱的那一套，打贫富不均牌、打富国制订规则牌，在环境议题中哭穷是可耻的，毕竟破坏环境只会更穷、恶性死循环里的穷，同时对地球的损坏是不可逆且“一损俱损”的“囚徒困境”中最糟糕的状况。同样的，海底钻井的石油泄漏如同亚马逊被焚烧的热带雨林，都必须及时遏止并不惜任何经济代价。无论如何，经济是人类社会抽象的发明，可以使用政治手段解决，而对自然的破坏则是实际的破坏。墨西哥湾的泄漏事故尚只有一口油井，而挪威这次对海底地质的破坏则波及350口油井，题材本身足以拍出一部警世之作。
很有意思的电影 让两个成年人去做青春期少年会做的幼稚事 但本意应该还是强调“爱不能够强求 对于真爱这件事 人们应该不断试错才有可能获得真爱。”
救生艇质量杠杠的，但是送它下水的这套设备是豆腐渣工程⚠️
还不错吧，一开始还觉得可能有点无聊，但是越看越上头，停不下来，就一下子看完了。挺不错的爱情喜剧。
结尾氧气罩有点刻意了，以及Emma在餐厅的那个绿色碎花裙哪能买
属于环境灾难片，比较符合北欧人关注环境的口味，然后故事主线是美女救英雄。电影叙述很常规，猜都猜得到，前期交代美女能操作水下机器人，讲和秃头男很和谐，然后引出环境事故，之后美女一定去救援。只是最后是一命换一命，同事牺牲了，但美女肯定觉得值啊，反正自己在乎的人救回来了，真是无耻之极，死去的同事多么无辜。
男主不能找个帅气点的吗？或者女主找个一般的。总感觉不是很搭，而且既不像环保倡议片，也不像灾难救援片，更不像动作片，什么都想兼顾，最后却仓皇失措收尾。
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