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
白左式正确井喷说教 圣母遇上傻白甜 世界大同笑开颜
虽然是个看了开头应该就知道结尾的故事，不过还是挺好看的。海兽的设定有点俗套了
3.5星，虽然结局太幼稚潦草了但是还是抵不住海兽们的可爱啊！请单独给小红小蓝还有那群小小黄出一个海岛生活的专场，删掉愚蠢的人类的戏份。前半段有几处画面有点吓人，触发深海恐惧。
总体来说还是挺好看的，部分地方处理的比较仓促，阎魔海兽为何就那么顺利成章听主角话？带他们回到的那个怪兽岛有何特别的地方？女巫对船长说要拿走一切，她到底拿走了啥？
中规中矩的流水线产物，制作一般，保证了没掉链子，各个环节也都比较均衡，卖卖萌的同时也不忘添加一点政治隐喻的部分，但整个剧作收尾部分还是处理得简单了。
大数据电影，没有惊喜，作为儿童片人类的戏份应该减少点。
适合暑期小朋友观看，从小的正面教育，既然，中国自己拍得不好，就应该多引进，加大开放力度。奈飞买这个片有点可惜，这种是标准的可以在影院供小朋友暑期看的电影。
平行时空里的童话，给老阿姨整的泪目了，看到那个beast的世界，奇特抓马，颜色用的激烈又浪漫，美术满分，故事也令人产生遐想，也许我们卷来卷去，都是虚无
3.5星，虽然结局太幼稚潦草了但是还是抵不住海兽们的可爱啊！请单独给小红小蓝还有那群小小黄出一个海岛生活的专场，删掉愚蠢的人类的戏份。前半段有几处画面有点吓人，触发深海恐惧。
能不成为大人就不成为了吧，反正也就是那么一生。
小女孩人设太过了
什么时候才能有一个正常普通的小女孩做主角？不要小女孩装大人了
属于网大电影水平。这个没有内容啊。更不要说有什么表达了。故事过于简单，没有让人起波澜的地方。视觉效果普通。实属解说佳作。
小红和小蓝过于可爱哈哈哈。
前20分钟挺好看的，以为是动作片，等到小女主上船了就惨了，开始变成儿童片，再等红魔鱼变成了傻白甜，全片已经朝动物环保片的深渊一去不复返了——看了40分钟弃剧
动画越做越细腻扎实感觉就是为了把真人看着油腻的神态动作放回像素角色上重焕新光，都是你们逼得太死了 观感没驯龙高手像拓麻歌子，剧情也就那样，就是图着看油腻的神态表达的…适调服务给迟钝的视觉网络也就是情绪a片
我第一觉得白左这么恶心，希望哪天编剧和导演的马被狮子吃了，你俩还能加入狮子自然保护区当志愿者
可可爱爱轻轻松松的合家欢电影，话说老船长最后是执念了吧。
和小孩一起看的，很欢乐很好看～(￣▽￣～)~
好可爱啊啊啊啊海洋版驯龙高手，呜呜呜大怪物太乖了！！
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