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
影像难得蕴含着那种老派的迷人，还是剧本拖了后腿，没能把这个故事自如发展下去。
虽然妹子身材太好，但导演显然更专注于拍男体。
idea不新鲜，动机挺牵强，但全员身材都太好，让片子赏心悦目.
看的时候只觉得小艺的声音让她的性格特征更丰富明显，没想到是ysx配的音
虽然角色是全新的，但《小马宝莉：新世代》依然延续了整个系列动画的核心主题“爱与友谊”。为了寻回魔法，恢复各族团结，小马们一起出发了，等待他们的是一场载歌载舞的冒险之旅。
新一代小马 也太洋气了吧 好喜欢 迫不期待想去大荧幕再看一次
节奏把控得还可以，虽然故事有点老套吧，但G5总体来说不负我的期望
挺好看的，我家宝贝很喜欢，虽说名字还记得不全，但是内容都看懂了，回家路上一直在给我讲，画面很萌，里面的几段歌曲也很好听，总之很好哦，会推荐给其他朋友的
以前我孤单，是因为“一个人”。现在我孤单，却是“因为一个人”
As long as it burns, we cannot drift apart.
作为一部动画片，画面非常吸引小孩子，通过看这个电影孩子也懂得了很多知识，大家要相亲相爱，相信朋友，团结一心。几个不同的小马角色都令人印象深刻，孩子爱的小马，傻乎乎却充满了勇气。尤其是小马苹果好可爱宝宝都说不养狗了，不如国家养个小马，这种寓教于乐的动画片应该多上映一点。电影汇集了国内可谓知名顶尖的声优，虽然感觉跟电视剧版有些差异，不过算上不错的了。配乐插曲也很棒，尤其是Sia的片尾曲Rainbow，赞一个。
好嘛，去年上映，今年国内引进，我去年就看过了，我都以为不会引进，，，
3.5颗星；带小侄子去看的一部动画片，还蛮有意思的，故事情节虽然对于我们这种大人而言，看到开头就知道结尾了，但对小朋友来说，还是挺有意义的。关键确实里面的高光角色基本都是女性，这点还让我蛮喜欢的。尤其是对于我这种没看过这部动画片的人，故事情节介绍的也挺完整~
女主从头到尾都是想和男主搞一下，确实怪不得别人，渣女害人
好嘛，去年上映，今年国内引进，我去年就看过了，我都以为不会引进，，，
题材自带神秘悬疑色彩，为了女主美好肉体加一颗星！
本来想打三星，看到一个shabi的友邻也打了三星装杯我必须打四星
《偷窥者》——小白羊之黑化史。你站在楼上看风景，看风景的人却在楼对面看你。明月装饰了你的窗子，你装饰了别人的梦。当你偷窥时，不由自主地，你便成了偷窥本身。
这电影，超乎预期的好看，izzy简直太萌了，只不过作为G5小马的开篇来说，电影内容相对过短，不过毕竟只是一个开篇，所以后续的G5才是真正的故事，不得不说这动画有一个不错的开篇，虽然可能没有达到G4的高度，但是作为大电影来说是不错的，里面的小马细看都是毛茸茸的，感觉手感应该超赞的（吸溜），真是一部不错的电影
作为小马教的成员之一我只想说，剧情太点草率了，但是看的出来有伏笔，建模这些也很优秀，看的出来g5的这第一部是试水的作品，很期待后来的发展，还有就是柔柔真的就成男的了呗，，
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