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
还是太短了 很多地方觉得太生草了 可能会后期回看一遍再改评分
这应该是近十年来拍得最好最精致的一部假面骑士电影了，镜头语言和戏剧性的呈现都很有电影的感觉，拍摄场景也很有现代都市的感觉，终于不用系列tv重复出现的几处东映祖传场景了。剧情主题有点有点别扭但也算是有了个能展开讨论的冲突，新人物的刻画虽然该交代的都交代了，但受限于篇幅难免还是和tv感觉有点突兀割裂。好在三大男主依旧延续了他们各自在tv里的人物形象，尤其是飞羽真老师神明一般的温柔与慈悲。战斗飙血和高质量特效都很惊喜。总而言之圣刃真的非常值得更多这样的外传电影，希望未来还能看到其他剑士的故事。
看得我泪眼汪汪的😭😭😭😭😭😭😭😭😭😭😭😭😭是没有选择进击的巨人😭😭😭😭😭😭
有点把正传那种充实感给毁了，但是演出还蛮优秀，最后主题点的也还可以，作为正片粉，更希望能看到剑士一起在八年后共同面对敌人的剧情啊
本来以为安全巡防队长是个大反派，没想到就是一个普通的激进立场的人。反而觉得更是大有深意，很多人我们我觉得很讨厌，厌恶，但是很有可能他们真的就是一个意见视角不同的普通人而已。
有点逻辑感人(? 片尾曲bittersweet好听 怎么完整版还要等五月啊啊啊啊啊
荒诞吗？看看这个世界；幽默吗？看到最后心里只有悲凉。“不要抬头”不一定是强制式的命令，也有可能是一种潜移默化的影响。
只要乔纳·希尔一出现，我就知道全片最不靠谱的人是谁了=.=
为母校加成多一星，“烂学校”的小李子大表姐发现了世界末日的可能，但是从上到下资本和分化的人民让大家觉得白左眼中这种美国着实可笑。怎么说呢，既反个人英雄主义又陷入了个人英雄主义，嘛，黑色喜剧就不要纠结了，只是结局小李子确实改变了自己在大数据下算出的结局，然后迎来毁灭，这让我感到欣喜。
被评分骗进来看，能理解为什么高，但我不是受众，适合小女孩
很多人不喜欢的原因，未必是它裹着喜剧的皮儿，骨子里是一出彻头彻尾的大闹剧大悲剧，而是在这出剧里看见了自己。以及，我感受到了编导演那种叶已气急败坏了的悲怆和绝望
Congrats! Your diet is over! 毁灭吧～ 众所周知，魔幻现实主义的重点在于现实…
相较于本篇偏向美好童话的故事氛围，本次外传的风格更偏向成人（大概这个意思），主角三人分了三条完全独立的故事线，每条线的处理以及收尾都恰到好处。此外本次特摄部分总共仅有10分钟左右，重点还是放在了叙事上。总体来说是一部十分令人满意的外传。
太tm好看了，看的时候手都在发抖，从托马、伦太郎、贤人三线展开分别叙述他们与没拯救下来的人的故事，最后结局有些赶但瑕不掩瑜。托马为什么只用烈火一册啊！
像闹着玩一样，唯一满意的的就是血飙的很满意
什么鬼剧情，两颗星给片尾曲，逻辑稀碎讲故事全靠吃书，还是不要勉强自己写成人向了吧老老实实做子供向不香吗，好端端浪费了一部正统外传的篇幅，saber真的可惜了，讲故事方面个人感觉比隔壁cross-z还拉胯
价值观与我无限贴合。
答：对不起，需要拆房子，需要承受损失，一切保持原状，高呼几声爱就行了。
大魔王一开始真没认出来哈哈哈哈哈
A- 这几年最好看的假面骑士外传，另类而让人耳目一新。福田发力稳定，上堀内依旧保持高水准甚至更有突破。脱离子供向的限制，大胆的做了蛮多尝试。配乐上也很有意思，尤其是片尾的Bittersweet。通篇冷色调和讲究的镜头语言给出了一种日系文艺片的质感。武戏的权重大大降低而更倾向于叙事。假面骑士敌我同源、善恶一念间的理念很好地贯彻。从剑士的相继消失，到最后由小陆挥剑救下飞羽真，以至于日常琐事。上堀内和福田似乎有意淡化“英雄”的神性而塑造其人性。脱下皮套，所谓“英雄”也不过凡人，所渴望拥有和守护的也只是平淡日常里的安稳与温暖。不足则在于篇幅限制导致三线并行时伦太郎线过短，而略显草率与粗糙。总体有些抽象，剧情走向在部分可预测之外比较出人意料。总体来说是一部非常有意思的特摄作品。
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