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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欲望交叉点喜羊羊与灰太狼之洋洋得意喜羊羊聆听中国拉塞尔女孩1812：枪骑兵之歌雪暴1814愿无岁月风雨桃花镇无间道爱人·同志撕票风云（国语版）致所有我曾爱过的男孩2醉颜红尘不可思议2008我的危险妻子但是还有热情二分之一的夫妇良辰美景好时光最强综艺秀偶然的社长第二季聊斋先生谍影迷情 第四季我叫布萨芭泰语合伙吧少年与彩云相遇虎父无犬女特工犬阿奇（原声版）危险辩护你们见到的还不算什么星际之门 SG-1 第四季依然爱情服务生朋友请听好 第二季撒哈拉2005国语少年鳄鱼队精英部队2：大敌当前命运喜欢恶作剧平安夜2021派遣女公关彩华第十个人1988九龙城寨之围城粤语暗夜行者督察班克斯第三季冰糖陷阱黄土高天神鬼八阵图
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欲望交叉点喜羊羊与灰太狼之洋洋得意喜羊羊聆听中国拉塞尔女孩1812：枪骑兵之歌雪暴1814愿无岁月风雨桃花镇无间道爱人·同志撕票风云（国语版）致所有我曾爱过的男孩2醉颜红尘不可思议2008我的危险妻子但是还有热情二分之一的夫妇良辰美景好时光最强综艺秀偶然的社长第二季聊斋先生谍影迷情 第四季我叫布萨芭泰语合伙吧少年与彩云相遇虎父无犬女特工犬阿奇（原声版）危险辩护你们见到的还不算什么星际之门 SG-1 第四季依然爱情服务生朋友请听好 第二季撒哈拉2005国语少年鳄鱼队精英部队2：大敌当前命运喜欢恶作剧平安夜2021派遣女公关彩华第十个人1988九龙城寨之围城粤语暗夜行者督察班克斯第三季冰糖陷阱黄土高天神鬼八阵图
浮光掠影，却也有趣。
电影从1840年维多利亚女王结婚一直演到1901年逝世，期间许多重大事件都有反映：第一届万国博览会、克里米亚战争、英军在苏丹的失败、即位60周年庆典……人物还原度很高，在皇宫实地取景。不过还是免不了带着时代烙印，拍摄于二战前夕，电影刻意表现阿尔伯特亲王是一个好的德国人，以缓和敏感的英德关系
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