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
绝大多数人都为了生活在奔波，找不到生命的意义，微薄的工资累死累活的，同事之间的勾心斗角真的身心俱疲，所以才会这么羡慕他们轻松氛围的生活吧
美学这些非常舒服
干电影行业这么多年，第一次看到零差评的电影
僧格骑马真的太帅了好吗？！看到他当兵那里真的被他感动，但是不明白为什么要让他死掉呢？
虽然是风情画式的情节，但男女主的感情很动人
说起来现在的藏区已经比较和平了吧，没有电影里的那些危险了吧，没有的话有时间要去看看
藏区风景真的很棒，超想去西藏看看，去新疆去西藏去青海去内蒙古，真实的去看看他们的生活，尽力所能及能帮一点是一点
韩老师一开始也没那么伟大，我是能在电影里面看到一点点他的心里历程变化的，到最后的结局，我一点都不意外
虽然说是事实，但是我扣了点分是因为结局的原因，！谁不希望有个好结局呢
由男主一个人将孩子们从小培养到高中也是有点儿不容易了吧，关键是从头到尾我都没看见过书本...
很感人。一定要有一个既有学识又有爱心的人留下来，才能让更多藏区孩子走出去。
现实中有些支教为了那些山区的孩子，确实付出了自已的青春。给我们带来了更多的是感动。
很不错的电影，让我看到了平凡人的不平凡之处，在主角身上能看到很多我和身边人的影子。
不错的作品呢，希望以后能有越来越多这样的好作品
很棒的电影，很平凡但又很伟大，让人很感动！
在草原上看星空这样的故事情节挺美好的，只可惜没有给星空拍的特写，只能靠观众自己想象
这部电影让我充满了一种特殊的感情，也许是牺牲小我奉献大我，也许是其他的什么，但总之，我很感动
看到朗措其实那里真的不知道说啥好了，为什么那些假的巡山员会去小学杀人呢？
风景很美很大气，藏区方言听着也很有味道，服道化都很真实很好代入
剧情过渡和事件的转折比较生硬吧，有一些强行安排的感觉，催泪的部分还是很好哭的。
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