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
越来越无聊了。。。除了中间光照会和旺达杀穿的那段，其他真的很无聊。
质感越来越游戏了 尤其是卷福的脸/ 全篇只想让猩红女巫快点料理他们../小孩选角不太行
人设全部写崩了，我还以为我在看DC的天启星战争😅
BillieEilish 整张专辑按序演唱的记录，掺杂了动画片段和舞台场景，可以听听。
好听，有点想流泪... 她的歌总能从各个方位击中我
超英到现在的看点就是能在多大程度上进行推陈出新，这部奇异博士虽然没有那么颠覆，但是恐怖元素的植入还是挺带感的。最后Strange对Christine 的告白看得有点泪目了。
5.9分左右。
曾经拥有一个巨大畸胎瘤的我看完陷入沉思，当医生跟我说拿出来的东西有牙齿有头发，我立刻觉得不那么孤单了(重点非常错)。片子就一般，有点像刚出道的温。
啊我才发现我不喜欢雷米，觉得他不属于这个时代。真的，看第一部蜘蛛侠时就觉得像60年代的片子。而我这个人看老片子就会觉得昏昏欲睡。
北美东部来打卡. 整部影片整体来说, 泪点十足. 当Strange精心打着领带参加Christine的婚礼; 当Christine问博士 “Are you happy?”; 当得知Wanda所做的一切只是为了和孩子生活在一起; 当女巫质问Strange “你曾用时间宝石做交易, 这次用孩子换全世界的安宁又有何不可”；当女巫说, “我想取她能力, 这样当孩子生病我可以去任何平行时空寻求医治”: 当博士对Christine说 “I love you in every universe!”…
让我们跳过法庭戏…直接到女主服务神盾局那段…
和泰国 日本 韩国的恐怖片截然不同 欧美恐怖片给我的感觉就是血腥而不吓人 温子仁出手品质还是有保障 抛开各种太过于巧合 结局也太温馨了不说 肢体恐怖还是有嗨点
其实片段看都挺不错的，很多还是有些鬼怪神力的，双胞胎寄生也是恐怖片常见情况，不过也有很多有趣的地方，比如前期女主艾米丽突然到另一个房间，开始以为是某种空间联系，很有迷惑性，后面是警局屠杀和反转也不错。
Billie Eilish is the future of music industry!!!!
本片的杂烩性体现于它暗戳戳指向美国社会难以治愈的“癌症”，即美国家庭当中的家暴问题。抛弃剧情人物内在逻辑性的乖张、马马虎虎，影片在惊悚、恐怖感上，还是制造了观影氛围的。作为强类型恐怖片，完成度OK的。温子仁作为华裔演员，在影片当中使用东方面孔的表达，天然带上了一些新移民与种族的基因，尽管它不是位列于凸显位置上，但也形成影片的视觉元素符号。影片最终将诡异、离奇，坐落回医学上的畸形儿设定，为恐怖故事找到现实根基，虽然它那么不可令人信服，但好在导演细腻的铺垫，能够自圆其说。关于“双面连体”的设定，似乎指向了自我意识觉醒，两种意识间的抗争，力量此消彼长。是否隐喻个体自我消失，与探索自我另一可能。显然这个高概念设定，脱胎于“双重人格”设定，后者表现较佳的影片是《四手联弹》，给我留下深刻印象。
典雅的古典交响乐团、躁动的摇滚乐队、冷酷的电子合成器悉数到场，配合得天衣无缝，更有碧梨小时候参加的唱诗班合唱团亲临助阵，碧梨的演唱也比以往更具叙事性也更有张力。总的来说是远超我的预期。
碧丽.艾莉许的个人演唱会，结合动画的形式带动一些简单情节的推进。印象中看的首部归类在电影中的演唱会，空场、乐队、电影，将一个专辑的歌曲融入一场音乐秀中。没特别喜欢的歌曲，也未听说过该歌手，电影可以一遍放着，一边干些其他的事情，当背景音乐也挺好。
不喜欢他们把Wanda塑造成了一个疯子……她已经很惨了……也太惨了真的
真的是一切皆有可能，粉红女巫变老妈，奇异博士变二郎神。
粉丝向作品，一小时的音乐现场表演，中间穿插了一些动画画面，原来碧梨在Met Gala上的造型是从这来的。
Copyright © 2015-2023 All Rights Reserved
