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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
消失的她
朱一龙,倪妮,文咏珊,杜江,黄子琪,祝海钰,张诣文含,于诚群,柯国庆,陈孟奇,孟芷旭
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迈克尔·B·乔丹,泰莎·汤普森,乔纳森·梅杰斯,菲利西亚·拉斯海德,伍德·哈里斯,弗罗里安·穆特鲁,安东尼·贝柳,米拉·戴维斯-肯特,小何塞·贝纳维德斯,塞勒妮丝·雷瓦,斯彭斯·摩尔二世,贾迈尔·钱伯斯,卡内洛·阿尔瓦雷斯 Saúl álvarez,皮特·佩努埃尔
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布鲁斯·威利斯,多米尼克·珀塞尔,昆凌,安迪·阿洛,穆斯塔法·沙基尔,费尔南达·安德拉德,尤金娜·库日敏娜,凡妮莎·万德·普卢姆,克里斯?穆利纳克斯,Andrea Lareo,Nomzamo Mbatha,Adam Huel Potter,Dustin Quick,Christian Rodrigo,Barry Jay Minoff
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梁朝伟,王一博,周迅,黄磊,森博之,大鹏,王传君,江疏影,张婧仪,周生昊,董易,古川岳史 ,彭广,赵左,高曙光,美浓轮泰史,金子浩拓 ,三浦研一,吴映,李欣,徐婧荧
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