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
临时决定在12月12日观看《鬼灭之刃无限列车篇》TV版，而后才发现，去年的剧场版《无限列车篇》刚好就是在12月12日观影，真是太巧了！去年12.12还顺便重温《那田蜘蛛山篇》，今年则看下《浅草篇》和《鼓屋敷篇》。
220202 親親就打高分 觀眾很沒有立場
927～928（982~985）集。出现很多新朋友和老朋友，都还是那个味哈哈哈；
默默心疼灰原哀这个工具人，剧情不错，你以为的惊喜不说清楚就会是误会啊
新兰永恒
啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊当然在交往啊！啊啊啊啊啊啊啊啊啊啊啊啊啊啊值得！二十年了！新兰永恒！啊啊啊啊啊啊啊啊啊啊啊啊啊啊我也等到这一天了！这是个纯爱故事吧？到现在还只是亲脸？比较返璞归真的故事，没有大爆炸，没有反科学，开心。
把名字拆成暗号 就会让出栗感到“被正名”吗 要是我我还是生气/但是新兰发糖就是甜 尽管这糖好几年前已经嗑过一次
啊啊啊啊啊新兰新兰永恒！！（剧场版要是能回到这样的质量就好啦）
亲脸颊也算亲了，正式交往好耶！服部红叶 警官与他的小宠物 好多cp：冲田那对不认识 大胸妹和保镖 我要补课了！豆豆眼都很可爱
EP.1-7 《无限列车》
推理挺拉跨的，不过新兰感情线终于起飞了，可喜可贺
EP.6-10 《浅草篇》
二十六年了、小兰和新一终于谈上恋爱了...
甚至平和，斗子(客串)都出场了，世纪之吻谁不说园子永远的神！！
hhh，槽点很多，不能理解的剧情，但是看到新一的小兰在一起了，很开心10分
TV版 Ep6-10 展开其实还是不及格。
新兰终于亲上了！虽然只是脸。。你敢不敢晚点变回去。。
第一季
能被触动到真的已经是十年前的事，连怀旧的情绪也掀不起
连载里面有出，特别版本。但是，！跨世纪之吻出现了，不要看爽！这就是理想的新兰恋啊，终于见光了，不用躲闪揣测了。
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