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
童话故事，低龄儿童适合！！告诉小朋友，自信点，你可以的！！
old fashion, stereotype but still selling
这部电影还不错，剧情很搞笑，小红狗好可爱🐶推荐观看
虽然剧情无敌俗套 但还是在Emily和Clifford分开的时候哭了 这可是狗狗的故事啊…………
看的我好开心，就喜欢有萌萌哒小动物的欢乐电影
看了半小时，觉得很无聊，这种狗和人的故事已经拍烂了，而这条狗也不可爱
本爱狗人士表示很喜欢这个故事，好正能量的童话。（为什么学校的漂亮女孩总是这么mean，这是刻板印象么…）
修giugiu给满分了💯，终于是个可爱知性的小女孩作为主角，而不是劲儿劲儿的gossip girls了
从什么时候开始人们不在相信乞丐？
小时候也蛮爱看这种电影的 虽然很乌托邦就对了
哈哈，这部戏最好的地方就是所有人都不怕这只大红狗。
好喜欢拉布拉多，即使变大了也依旧超级可爱！！！！！很有爱的一部电影。
虽然是儿童片，但这也太儿戏了……里面所有角色包括邻居NPC的感情发展都好像跳过了一季度剧情，说教极度尴尬生硬。狗倒是可爱的。
狗狗真的是世界上最可爱的 但是故事比较儿童向
???????作为一个讨厌纽约讨厌harlem以及刚刚带了两周狗差点累死的社畜我觉得我不能relate
合家欢电影。有些衔接不够自然。剧本再好好打磨就好了。
大篇幅内容压缩到两个小时，许多人物动机和事情来龙去脉有些混乱。
大红狗都是没有灵魂的套招概念，本质就是非常俗套的好莱坞式青少年成长电影。就有深耕多年的迪士尼做标准，才能看出派拉蒙在这部影片上下的功夫有多微弱。对于仿真狗的特效，都有非常强的反生理感。这种粗糙自然也同样体现在剧作上。连片尾那正能量的鸡汤，都老气横秋到像是十年前的东西。不说美国，放眼全球，越发割裂的局势，又还有多少人能容得下异类如此嚣张的发光发亮呢，都是童话式粉饰太平的美好幻想。
更喜欢剧版一些，但影版也有自己的特色，葛优演得蛮好的。这个故事就是个戏剧冲突十分组的故事，剧情加分。
电影需要一个升华的主题，这个故事里是一个关于儿童自我成长的永恒主题，只是变现形式太过套路化，所以很无聊。
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