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
根据2015年，俄罗斯轰炸机被土耳其战斗机击落这一真实事件改编。文戏普通且套路，几场战斗场面拍得还是很好看的，特别是第一场行云流水般的突击，十分精彩。营救飞行员后的报复行动拍得略显仓促，那场戏应该是全片重点，应该更多一些笔墨才对。铺垫的那些爱情戏、家庭戏啥的没太大意思，只是飞行员还是学员时刚好遇到苏联解体，军人存在的意义受到冲击，那场戏让人颇为唏嘘。一部被俄罗斯军方支持的主旋律电影。
这种类型片，拍成这样子，可以了！倒叙让人一直出戏，故事讲的不行，演员演技是可以的。
叙事和情节还行，没想到男主还是牺牲了。
AI写的剧本吧……但演员就还挺可爱的一人一星嘛。
想做成大片范，也停留在想想，全方位廉价，动作戏都毫无亮点的尴尬。
这个垃圾电影政治立场有问题，111分钟左右有一个指挥大厅世界地图亮起来的画面，中国大陆和台湾不是一个整体
死侍和巨石一样高哎?剧情比较套路,最后的反转不错,笑点凑合,动作中规中矩.加朵的踢技很漂亮.国际刑警是怎么老跟屁股后的?总体还行吧 6分了.
我看的那个版本，翻译是机翻的，驴头不对马嘴，严重影响观感。战争部分很燃，就是中间穿插的公交车上的部分，是个什么鬼？
5.8分。这就是正片不成，爽片也不成的地位……若是做成《王牌保镖》这样的爽片也好，动作剪辑七零八落，剧情反转堪称儿戏。继《摩天营救》之后，罗森·马绍尔·瑟伯又贡献出了一出愚蠢搞笑的高成本动作电影。
6.6
完整的战斗场面只有两段，不解馋！但话说回了，毛子的饱和式火力压制还以有那味儿的！
总体战斗场面绝对好，最近这几年好像确实多了很多毛子主动对90年代社会变化的反思，最后纸飞机那段也是high level，比起 长津湖最后那个一群人冲向海边又不真实又不贴合战役给后人留下的精神价值 不知道高到哪了去了。。电影长津湖拍成这样还真是白瞎了这么好的题材。。
蹩脚的网络资源字幕让我想起我以前学习过的俄语痛不欲生 出彩的是1小时部分特种兵作战 剧情切割太散了
死侍搭档强森，再加上女侠，就这成片！？好像糯米滋岩石后来就这个戏路了，没什么突破，当然本片也是没什么惊喜，关键强行搞基也是尬！三人完全没什么火花！看得想睡觉！
之前一直看美国特种兵天下无敌，这次老毛子的特种兵发威了
最主要的是其中的情感。
毛子的主旋律电影，比土鳖的强了不止一星半点
战斗情节两颗星，主旋律两颗星，如果不是那么点只解沙场为国死的劲，总共两颗星都嫌多，剪辑、叙事线以后及最后高潮情节烂的一批
这影棚大烂片，剧情老套，很多时候都是假景，跟国产剧有的一拼，完全不值得浪费时间
周六的晚上，看一部这样的爆米花电影，也算是合格的消遣了。
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