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
意外惊喜，挺好笑的，各种笑点处理也比较自然，笑点很多，支持国产喜剧。我笑点比较高，老郭的相声我好多都没什么感觉，脱口秀大会看看看，这部剧真心不错，推荐！
一部呈现效果还不错的少儿歌舞剧电影。本身歌舞剧题材就不太好拍，而且是少儿的，难度更大。演员的表演都很到位，所以最后一也不错，但是配角感觉有点故意安排成了亚裔，男主的女票安排成了一个非裔，看来导演这是谁都不得罪，讲政治的典范啊。男主在百老汇载歌载舞的片段，还替tiktok做了个广告……
迪士尼里程碑意义的作品，逻辑硬伤挺多，但是不影响看着爽啊。
崔志佳，有个喜剧综艺出来的，很搞笑！！大潘在就更好啦
虽然故事俗套，但作为同类型的网大电影拍的还是可以的。
看得真的很痛苦，看了五十分钟确实坚持不下去了
导演: 崔志佳 / 王梓
很cliche但是很暖小男孩眼睛充满了希望
看完之后，一是觉得他媳妇真贤惠啊，不嫌你没钱不骂你没本事，还支持你放弃体面的工作，追求自己内心的想法；二是，镜头怼着那些烤串拍，看着太有食欲了。
轻松好看，峰回路转的包袱让人捧腹大笑，比很多网络大电影强很多很多
崔志佳的又一部自导自演的片子，观感不如东北告别天团，能看出来很多场景都是跟那部一起的，崔的表演方式也基本平移过来，用来解闷还可以，也有其存在的价值。
这种喜剧类型的片如果多一点原创笑点，少一些当下流行的梗，会不会更复合电影的要求呢。
东北草根文化都让这帮演小品、拍短视频的玩全乎儿了，下次直接放大招，整个《东北之王》吧。
限于成本看得出有点试水的意思，没有强行煽情、没有拖拖沓沓（甚至过度有点过快),没有引人反感的演员，这就算及格了。希望佳佳再瘦回去，然后给一部更有内涵的喜剧续篇出来。
其中李炎燚老婆让人感触挺多的
和所谓的大制作相比，至少用心了，爱笑的风格还是没变
喜剧小品，大俗的情节设置，利用女性的生殖诱惑，莫名其妙的一见钟情，当作下饭喜剧看看还行
唉，当初爱笑那个翩翩少年崔志佳，时光对你做了什么？
如果没看过 爱笑会议室，评价大概负分了。
哎真的很好笑啊，妻子怀孕那个细节也真实，孕中期已经不用化妆品了。我东北的特别能感受到笑点，两个人都特开心。乐喷了乐喷了。
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