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
前半段哄小孩子的，要到后半段才会有点点意思。
这或许是一种情感寄托。
比第1部有一些进步。在剧情上更加的丰满，悬疑的要素慢慢的多了起来，但是逻辑漏洞太多了，看得我满脸问号。
王真儿的每部剧都看过！每一个角色都贼有气质！这个大女主剧也太好看了！
这次终于把水怪由来解释清楚了
儿童向电影，告诉我们小孩没事别写恐怖故事，更别离家出走。话说特别讨厌那个黑人女孩，干啥啥不行，闯祸第一名，遇事不好拔腿就跑。另外那个小孩讲的恐怖故事一点也不恐怖，
20220406——96；关于芭蕾。有些失望。
这个评分这么低？不可思议，被朋友安利到，刚看完，哭的稀里哗啦，民间故事结合鬼怪力神剖析人性，看到最后才反转的好片子
能不能留点童年的美好，因为吊桥效应两个孩子渐生情愫？？编剧是真的龌龊
不是大人拍给孩子们的恐怖故事，像是小孩子自己编的故事。
胡乱的剧情和剪辑，不过我喜欢王真儿。虽然故事反转我都猜到个八九，亲情部分还是挺感人的。
作为儿童恐怖片挺有意思的，如果自己是个孩子肯定会被吓到。最后是和《锅炉工》梦幻联动了么
绝了，国产恐怖片做到这份上，我个人觉得很不错。第一部水怪我妈就很喜欢。第二部水怪没有怪，只有黑了心的人。打斗和特效都做得还不错。
印象深刻的几个点，两个女巫见面开打以后主角跑出去那条通道让人想跳狼姐的she wolf，反派的毁灭也是一贯的轻松。儿童恐怖文学，对你是个怪胎你独特的情感戏腻了。
弟弟整天赶稿烧书删文，所有写文的写手都应该来看看这个片。想看安妮海瑟薇x克里斯滕里特的双巫婆片。
儿童恐怖片？就是吓唬熊孩子的电影？还是一惊一乍的靠音效膈应大人的小孩子演的电影？反正不好看！
床戏放点音乐？恩佐法拉利车里为何不放收音机？因为喜欢听引擎的声音。 我成熟了，从野猫变成了孤狼。
故事挺有趣，就是一部闲时看个乐的电影。时长很短所以节奏很快，有些地方可能看不懂。
故事编的在网大中真的还可以啦，看到最后竟然有被感动到！弟弟还真中国版《水形物语》了😂
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