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
前半部分挺好笑的，皮特演了个《阅后即焚》式的角色。
哈哈哈哈什么玩意儿看一乐呵有些反讽暗语但很没意思也很低级……不过要说的是女人当家作主站起来了！不再是60岁的007配20岁小嫩妞儿了！咱妇女在50多的时候也能把到小鲜肉！这大臂膀子！这大翘屁深股沟子！谁看谁不迷糊！只是皮特龙套跑得太干脆……以及很多陈家班打斗场景……乌鱼子…所以这是在致敬复古吗……
布拉德皮特那段客串部分特别逗哈哈，全片搞笑担当了！其他几位主演，不知道为啥都莫名有点憨……
爛是爛，但目標、定位都很明確，也算功能完善的爆米花。
太老套了 ，且俩人没有任何火花，浪费时间。
2.5,白期待那么久，什么玩意儿啊，找来几个大牌都搭不到一起去，选角定位最失败的就是男主，完全不适合，这不是浪费资源嘛，这不是浪费资源嘛！
专门来拉高评分，尽职尽责的爆米花电影，故事无所谓，探险、善恶有报，可乐儿的讲故事方式，尤其是布拉德皮特，提供了开心的两小时
烂片，同样是冒险片，比口碑一般的《神秘海域》还更烂，本片就一穷酸项目，靠演员阵容吸引眼球，内里都是低俗的老一套，嘴炮支撑，而且通篇没觉得多好笑，一本正经的胡说八道既视感，打着冒险夺宝的爱情向电影，两位男女主角也毫无火花，姨姨带侄子玩的戏码，过程智障，反派软趴，连结尾的冒险终点站都看得出的糊弄，也就布拉德皮特出现那段还有点意外入侵的惊喜度，其它一切平平无奇，好莱坞近几年真的过于偷懒，连类型片的复刻都难演出新花样，一幅死猪不怕开水烫的what ever态度，那评分就绝对不能客气。★
“既然能出去见世面，为什么要一个人闷在家里呢？”
La comédie d'aventure romantique avec ses running gags qui tournent en dérision les codes du genre mais tombe elle-même inéluctablement dans l'ornière des niaiseries sans parvenir à frayer un chemin orignal. Quelques moments hilarants ici et là remplissent le cahier des charges d'un film divertissant dont la bande annonce résume déjà tout
又是找几个大牌过来随便糊弄一下的电影，好随意的剧本
天啊！桑德拉布洛克居然58岁了！！！小黄书作家和年下书模的探险之旅～皮特客串，哈利波特扮演大反派，看点槽点齐飞～跟神秘海域一个成色，打发时间可以
很一般般，某些桥段有点好笑。男女主都很啰嗦
“如果你吸食岛的生命，那么岛也会吸食你的……”
搞笑冒险
探险真是永恒的题材，皮特打酱油是万万没想到
Sandra Bullock多年前有部爱情轻喜剧还挺好看的。这部爱情喜剧的桥段和多年前相比并无新意，讲故事的能力更差，若作为探险片看就更差了。
本来就够扯了，布拉德皮特还尼玛又复活了~桑德拉布洛克也是神，快六十的人了，看着也就三十多，科技改变容颜吧。
建议华纳赶紧找罗琳和德普翻拍此片，保留丹尼尔雷德克里夫的角色。满足老年迷妹的爱情幻想。
隔壁神秘海域6.3诶，这个不配吗，确实不够爆米花，结局也不够让人眼前一亮，甚至很平庸，但是喜剧效果好很多啊，桑德拉真的是天生喜剧的料，还不是那种故意搞笑，是真的好笑，然后故事呢就这样吧，动作戏只有皮特的一点，你把这个当作冒险喜剧看，就不会觉得难受了，定位错了
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