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
中国网络电影的一个通病……有可能是时长太短的原因，细节太差了。电影完成度还是可以的，故事很完整，但细节太少，根本看不到紫霞和至尊宝的爱情在哪里……紫霞来找至尊宝，至尊宝拔不出宝剑，紫霞要走，至尊宝想跟着，都合理吧。然后两人之间感情到底是怎么产生的？大反派九孔，多点细节也会好一些。但没有细节，导致他突然跳反也没什么感觉……另外因为套在了大话西游的壳上，剧情实在没新意，怎么整都是那个样~演员还行吧，演技不差，但看不出演技好。紫霞不像个仙子，更像个人间烟火气息浓重的小丫头。
竟然还可以，第一达叔，没想到。第二竟然看到紫霞没有讨厌。
刚看过了，拍出了大话西游的内涵，比起现在大把流量网大烂电影好太多了，剧组也挺穷的，但是用心改编用心打磨剧本，就算穷也有好电影，对得起达叔的在天之灵了。虽然有很多的不足，但却背负着经典的重大压力下，拍出了大话西游的内涵，想想当初悲惨的蓝洁瑛一生，周星驰由于出轨和朱茵的有缘无分，过世的达叔，真是人生如戏，都是无奈。
同类翻拍中 算是很用心的佼佼者了。剧情还算顺畅，感觉更像是白话文，翻译了整篇文言文。港式无厘头。
其实不太希望出大话西游系列的，周星驰的经典是一座看不到顶的高峰
给达叔面子。男主演技是可以的没想到会敢接这剧。。女主还是很漂亮的。
fake it until you make it
5分吧，缺点还是很多，剧情有反转，无聊的时候看看还行。
三点值得看。永远的达叔、不让人生厌的紫霞、能串联《大话西游》两部的某些点。其他，均表现出有心无力，草率了事之感，虽有诚意，但才气和财气不足。
淘梦垂死挣扎的作品 依然是网大最差最固化的一波人 整个片子的价值在分账上体现得非常明显 不知道中间环节吃掉了多少 领导层不懂电影 中间层只想着揩油 片子本身水到爆炸 平台和观众不傻
导演兼编剧同学应该也是仙剑的粉丝，里面有不少仙剑的影子，比如：片头的锅勺敲头；片中的御剑飞行；甚至紫霞仙子的言行举止里都有一些林月如的味道。
这次经典改编的确实还不错，旋律响起的那一瞬间，还是很怀念。达叔戏份很足，遗作且看且珍惜！
两人感情铺垫不够，看花絮好像还有穿婚服的场景被删了
At kinlong's apartment with xunlei just now
好像有个白蛇缘起吧，不是动画片，是个真人版的，也是讲的白蛇前世，这个感觉不如那个
吴孟达的遗作居然是《大话西游》同人网大…这部致敬《大话西游》的同人作品 60% 的复刻了经典剧情桥段与部分台词，又原创了一些东西可还是没能讲清楚为何是「缘起」。演员阵容里居然汇集了诸多面熟的老演员与知名配角演员，与同时期王晶《倚天屠龙记》2022网大算是不分伯仲了。
其实还行
达叔还来客串
努力保持原来的风格，景物、装扮，故事上也算努力看齐了，剧情中规中矩的，主角太认真了，没有体会到星爷的癫，毕竟一个人一个风格，不过还是谢谢用心了！怀念达叔！！想去再刷一遍《大话》了。
道路服化打光特效都很走心，剧情太一般了，没有转出花儿
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