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
画面剧情都精彩的儿童电影，狗狗们的新装备也太酷了，我看着都心动……
有人说，这是一部从孩子视角可以打5星的电影。我说，从大人角度出发，它依然可以打5星。大片该有的要素它都有，这是一部孩子的动画片，不要用大人眼光去要求它。难能可贵的是，它没有完全只迎合孩子：市长的“一万粉丝以上的网红”和“记得#话题关注我”梗，和主播戴假发梗只有成年人能会心一笑。看过连续剧，去电影院看大电影，它值得。
我确实是爱大恐龙，但这情实在是忍不了。。。还有今年的IP都流行炒冷饭，咋都轮流请老一代的主角们来玩
我觉得很好看啊，看得我紧张死了。😂里边的配乐好好听哦，尽管比较大人听的音乐，可是我儿子都一直夸好听
一个三岁的小朋友人生中第一次在影院看电影，不哭不闹，全程乖乖，很不错了。
成年人看也意外的很有意思，如果翻译上能稍微遵从一下TV版会更好，那一句句的“ahhhchi”真叫的让人出戏。
这次疫情让“西方发达国家”原形毕露了，而在亚洲、尤其以中国为代表控制住了疫情，导致西方人心理不平衡。亚裔在欧美所遭受的仇恨排斥前所未有。而好莱坞也开始运作，不断在好莱坞电影丑化亚裔，不管什么片子，反派总有亚裔，将亚裔塑造成危害全世界的群体，本片就是丑化亚裔的其中之一
好喜欢女主，好喜欢红头发。虽然但是，还是不错，只要脱离人本位都是好片子，不过有史学家早就说过，人类永远不会以史为鉴，更别说“只是个电影”，还是马科姆博士说得对，“熬过最黑暗的时刻，离彻底灭亡就不远了”，不愧是侏罗纪里最喜欢的角色2333
居然还能看下去 以及男主和男狗的故事还居然有点感人 但是我最喜欢的就是小蝴蝶犬 你就是我最喜欢的小姑娘！
意外的还不错呢，大屏幕的狗狗发丝柔顺眼睛水汪汪更加可爱了，阿奇作为第一男主狗戏份最多，还展示了楚楚可怜的一面，不太喜欢一设定是，莱德说因为觉得阿奇是最勇敢的狗狗才捡他，说他注定就是英雄。阿奇真是背负太多了呜呜呜
新总部，新装备也蛮炫酷的。
尽管画风升级了，但故事没剧版和前面上映的那部好看
大人说着孩子语言，这不是古希腊神话的精髓吗
其实把本片当作是包含了恐龙元素的动作片+恐怖片，则看起来还是不错的
如坐针毡……如芒刺背……如鲠在喉……建议去看纪录片
陪女儿看的 前半部比较弱智 后面拍出了幼儿好莱坞大片感 女儿很喜欢
娃去电影院看的第一部电影，汪汪队忠实粉丝。
陪少爷看的，好在剧情对大人也算友好，小盆友能看懂的话就是非常有教育意义了，阿奇是主角，幼年受到的伤害终究还是要靠自己去直面才能真正战胜心中恐惧
中间一段恐龙跑酷追主角团，看起来像侏罗纪版速度与激情。人类有坐骑，恐龙追不上，人类用腿儿跑，恐龙还是追不上。
段落上来说中间马耳他黑市的混战比较精彩，结尾高潮处回归《公园》式的触发剧情，搭配适时出现的小惊悚与每部必有的霸王龙时刻，在老调重弹中稳健地结束了新三部曲
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