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
延迟看了99.9，这个剧情我真的问号了，两个4岁小孩误投毒药，然后全村人偷换证据，陷害一个成年人？4岁孩子哪怕被查到也不会判刑的吧！立本难道没有未成年保护法？导演是故意想制造反转，一直想要知道真相的人居然是17年前的凶手？
米七這個角色很複雜。一個一直想尋求真相的少年，最後發現兇手是自己。這個邊緣角色不僅要展現被真相困住很長時間的焦灼、努力尋求真相的執著還要演出最後知道兇手是自己的手足無措以及面對被自己害死的村民的女兒那種無限愧疚卻無力補償的掙扎。兒時的遊戲導致別人家破人亡，雖然已過了法律追訴期，但這個角色之後肯定是滿懷負擔的一生。
实话实说，没有SP好看，其实就是个很简单的案件，弯来绕去搞了半天，全村就为了维护两个熊孩子而摧毁一整个家庭的剧情真的有够無理。。michi这个角色我愿称之为“正义天使之杀人凶手竟是我自己”，村里的几场戏都有点尬。搞笑元素和美食果然是本人最爱，好喜欢小徒弟和师傅的互动，但映画也不如SP搞笑。对西岛叔的角色南云律师这个人物背景有太大期待的结果就是真的有点失望，绘里明明是主委托人却只在开头结尾出现过，感觉就是很经典的工具人了。映画表现真的平平，在罪案类和高校刑侦律政类里也就中等，不是演员和演技的问题，主要还是剧情安排。99.9不能只靠润润在撑啊，大叔笑话还是一如既往好笑，剧情度降低了也是白搭，TBS好好磨磨脚本再拍后续吧。
质量和多拉马持平 但是我对映画要求好像更高点 希望加长版的故事做得更好 故事性还是差点
终于看到电影版啦～虽然没有那么精彩但是还是挺搞笑的🤣
The movie 分还没隔壁sp高简直不可思议，还是很完整的，除了关键角色全村的太子实在演技太拉垮😅
怪不得我对99.9有这么高的即视感，原来圈套也是这个导演！木村尚我命令你把圈套或者99.9永远地拍下去，不然我就求你🥺
前夫、比sp好看，这个系列可以完结了！深山小律师可以say bye bye
本来不喜欢文乃，在杉咲花的衬托下，文乃可真是太可爱了。另外，居然才发现哈哈哈哈，日本跟我们关于法官检察官当律师的规定不一样嘿哈哈哈哈哈
基本上主要人物都登场了，应该也是当成系列最终作来拍了吧。整体故事一般，女一真的是愈发的聒噪了……
三星半。比sp要好看点，可是无厘头的有点过头了好多时候我替他们尴尬…不过案子不枯燥是可看的。本以为道枝弟弟是杰尼斯买一送一打包硬塞进来的，结局出乎意料隔壁的金田一在这里成为了凶手…时长有点过长，可以再压缩点的其实…
整体来说不是很吸引我 结局凶手的反转还是挺有意思的。总感觉这次的重复推演有一点拖沓，看得很累
几年前电视剧连看两季停不下来，不知道是剧本不够吸引还是我老了，电影版有些疲软，对真相的探寻点题生硬，力度不够。
和SP的剧情有点链接，可以的话最好两个都看，剧情还是可以的，推理弱了点，基本上没有悬念，我还挺喜欢第三部的女配，依旧喜欢香川照之的演技。
案件本身太过扯淡，但大家都好可爱！好喜欢杉咲花哦！！！
整体来说不是很吸引我 结局凶手的反转还是挺有意思的。总感觉这次的重复推演有一点拖沓，看得很累
表情还是那么浮夸，比较深的记忆点是办公室那匹装饰马
松本润的嘴愈发歪了，疑似还戴了美瞳，底妆还很厚。。。🤦🏻♀️（日剧的着力点也愈发 腻 歪了）
这次的案子也不错，虽然起因和结束都稍微有一些突兀，但反射出的内核很喜欢。
一🌟给末子，一🌟给西岛叔，一🌟给道枝。（常见问题）日剧电影化后，电视剧思路的剧本不足以支撑两个小时的时长，就开始用名配角来填充画面了。BGM响起的时候泪目了！
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