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
片末的爵士音乐是《Dream a little dream of me》
虽然说不是赌片也不是heist片，但当作夕阳红来拍真的挺无聊的
好可爱的夫妇。玛吉也太好了。。但我做不了，衣服洗好了俩小时了，也提醒了他四五次了，还没晾。气死了
20220716看完，小镇居民，很可爱。生活中有比钱和赢更重要的东西值得守护。
给buzz创作的动画哎，很正确，很工整，虽然和皮克斯合作但其实没有皮克斯的有趣元素，算是一部制作精良但无聊的迪士尼动画（迪士尼就爱合家欢）
本中国人在看电影过程中一直心惊胆战怕暴雷怕全族受骗怕不幸发生，没想到全片没有恶人，最后是个sweet happy ending.感谢电影让我了解，世界还是有简单温暖幸运on progress.
尺度有点惊到我，看片名还以为是小清新爱情。本来片头Anaïs横冲直撞式的生活和火花式的热情，让人有点摸不着头脑，甚至有点小厌烦。但是Valeria出场之后仿佛就像是三月的春风中和了电影前面的躁动，给电影附上了一层浪漫的朦胧诗。不得不说时间真的是女人最好的化妆品，Valeria那种浑然天成的知性与优雅，谁看了不心动。电影最后几分钟更是唯美得无话可说，Anaïs仿佛化身成了玫瑰骑士牵着自己的“苏菲”穿越了人间喧嚣，去享受她们仲夏月光下待续的爱情。
7分。一个通过彩票漏洞买彩票致富的故事。在这个基本框架下，剧情有几点不同：杰瑞和玛姬享受的是两口子在退休后一起冒险一起做事的过程，只不过结果刚好是有了钱；杰瑞和玛姬致富不忘带同乡，死气沉沉的小镇因为有钱了，又焕发了生机；杰瑞和玛姬遇到自私的哈佛大学生对手，并且让对方惨败；杰瑞和玛姬知道彩票漏洞，彩票销售公司也知道，只不过大家心照不宣，因为多买（卖）彩票是一件双赢的事情；杰瑞和玛姬最后过上了幸福的生活。有钱真好。
- No no no, I am asking you to brake!
大学生的那条线太假了，其他的都还好，轻喜剧设定，可看。
#豆瓣电影
缺点明显，但是我私心真的太喜欢这种无边无际探索宇宙的童话了——看到黑色幕布白色星星，看到人物的冒险都是单纯又充满爱的，我觉得我的灵魂在跟着颤抖。故事很弱，但碰巧又是我喜欢的主题don’t look back以及不要拒绝身边的亲密关系的可能。最后必须要说一句，猫猫就是最好的！
爱上一个人后一切都慢了下来。喜欢这个结局！ 21.12.16
好轻松的电影，善良的人啊， 发现了彩票的漏洞，竟然最先想到的是用这个钱来帮助发展小镇，好运属于这样善良的人啊！
题材挺好，也很欢快，但缺乏一定的戏剧冲突，不过也值得推荐
1.很欢乐愉快，所以三星多一颗
迪斯尼收购皮克斯之后，皮克斯就不是皮克斯了……
看了原片，😂超棒的喜剧片啊。里面哈佛那条线给主角带来一些challenge让整个故事情节更有起伏更丰满了。值得一看的令人快乐的好片。
独富富不如众富富 致敬 男女主互相扶持理解的感情令人神往
没有想象中好看，挺失望的。皮克斯里夹着一点迪士尼的味道，两边都不靠谱…（262）
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