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
一星给美术设计。一星给b级片的那种恶趣味。一星给鲨鱼哥。
平均每个派大星人要对抗一百只老鼠
DC还是比较适合导演们放飞自我，各种恶趣味都很到位，叙事也很有趣，近期的影片很多都寡淡无味，能看到这样的作品还是很爽的。
首先，各种原因，未能在大银幕看这部电影，算是人生一大遗憾！开篇先调侃一下前作，之后便是一切推翻，如排山倒海般重来。万花筒配色，不按套路出牌的编排，强烈视觉听觉盛宴。最后再回归各个角色本身，各种反转也不忘与现实世界之间映射一番。讨论作为反派内心被给予的设定，再与自己和解的温暖一击。紧接着小丑女，鲨鱼王又成功把我圈粉！是的，这部电影就是这么很cult很帅又很调皮！
老婆是公主 是仙女 是被救的时候感动到泪光闪闪的可爱宝贝
这是我看的小丑女的第一部作品 比预料中好很多诶~ 赵喜娜的白内裤场景 图片库里居然没人传？？他的独立剧集明年应该能播 据说第二季已经被砍 超出预算太多……flag蛮好的 可惜挂了 我去看看之前的电影好了……很喜欢这句话 但是要给人生找意义 不是很容易 “Rats are the lowliest and most despised of all creatures, my love. If they have a purpose, so do we."
就……食之无味，弃之可惜。全程充满血浆和屎尿屁，毫无逻辑与人物高光。当然，小丑女的红裙子是好看的。
美國之所以成為強國，是因為自由，自由的思維、自由的選擇、自由的言論；遵從內心感受：你優秀，我支持你，你沈淪，我就與你分道揚鑣，特立獨行，尊重個性；而有了自由，才有創新，有了創新，才有真正意義上的強大。
Peace maker这个角色其实可以把它翻译成维稳侠
谢谢有爽到，比起漫威全面伟光正，还是DC带感。（是的我叛逃了
从漫威到DC，詹姆斯·古恩不愧是超级英雄导演里的异类，而他这种毫不正经的风格恰恰为自杀小队找到了正途，让怪咖角色发挥出了应有的魅力，同时在血浆与笑料的把握上也是毫无束缚，彻底变成了导演自己的B级舞台秀，红裙小丑女太美了，鲨鱼怪这角色很圈粉。
DC还是很能打的，风格突出，血腥和暴力得暴爽。哈莉奎茵说，“如果你咳嗽不捂嘴巴，你会没命”～看见最后老鼠围城，不由得为迪士尼可惜了起来……
一部奇奇怪怪的电影，元素非常多样，但又融合得很奇妙。角色都挺新奇有趣的，就是角色去世得有点密集有些蛮喜欢的都die了。圆点人我也蛮喜欢的！丧丧搞笑的另类「妈宝」男。最后我想讲的就是本片大怪兽的派大星，拥有了心灵控制超能力，也继承了巨大化(可能导演喜欢神奇宝贝也说不定)，眼睛大大的也很可爱。它明明在宇宙中活得好好的，无奈人类偏要来打搅它捕捉它实验它，让它的命运从此不同。它其实只是只想安静遨游宇宙海洋凝望星星的海星，等海绵宝宝回来(不是)。
恶趣味满满，结局大战派大星有点让人生理不适
3.5分是没跑的，打几呢，在3和4之间犹豫。之前给太多商业片打过4星，所以想选4；忠于此刻，就选3。本片的宝贵之处是新意，因为这种打来打去的大片近几年太多了，严重套路，严重审美疲劳。不过，瓶再新也是旧酒。当然如果你还没厌倦这种片，那它就是4星及以上。和所有好莱坞主流片子一样，打斗比较肉头。
Rats are the lowliest and most despised of all creatures, my love.
爽片，通顺合理，群像戏照顾到了每一个人，又没有太啰嗦太俗套，角色讨喜，几场高光也好看。意外迷上了波点人的演员，那种精神病人的脆弱感。
If they have purpose, so do we all.
4.5。
像是把一集rm扩充成了长片，欢脱又想象力勃发。不过感觉小丑女并不属于这个解构系统，因为我们都知道她不会死。
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