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剧情介绍
荣耀六十年1938电影免费高清在线观看全集。
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起死回生黑狱杀人王九里香007之诺博士国语超级兵王混农村2古墓传说呆呆向前冲机动部队—人性城市恋人黄飞鸿之西域雄狮小行星大末日鲛人传说之人间情梦魇惊魂町田君的世界牢里的人皓镧传齐丑无艳之破镜重圆恐怖公墓最后一周强迫症联欢会福尔摩斯归来记法国小馆儿第三季群盗：民乱的时代反骗警察家和万事惊粤语失落女人之家密西西比第一季杀人不难黑夜传说冒一切风险的阶级没事偷着乐巴山夜雨恶血入侵异次元3薯童谣沉寂之桥消失的身份换了人间相对无言第二季一触即发里相棒2最后机会大学第五季你好赛先生阳光总在风雨后2009我的少年时代2024伴我闯天涯1989
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起死回生黑狱杀人王九里香007之诺博士国语超级兵王混农村2古墓传说呆呆向前冲机动部队—人性城市恋人黄飞鸿之西域雄狮小行星大末日鲛人传说之人间情梦魇惊魂町田君的世界牢里的人皓镧传齐丑无艳之破镜重圆恐怖公墓最后一周强迫症联欢会福尔摩斯归来记法国小馆儿第三季群盗：民乱的时代反骗警察家和万事惊粤语失落女人之家密西西比第一季杀人不难黑夜传说冒一切风险的阶级没事偷着乐巴山夜雨恶血入侵异次元3薯童谣沉寂之桥消失的身份换了人间相对无言第二季一触即发里相棒2最后机会大学第五季你好赛先生阳光总在风雨后2009我的少年时代2024伴我闯天涯1989
AW脑残粉 自然给高分
浮光掠影，却也有趣。
电影从1840年维多利亚女王结婚一直演到1901年逝世，期间许多重大事件都有反映：第一届万国博览会、克里米亚战争、英军在苏丹的失败、即位60周年庆典……人物还原度很高，在皇宫实地取景。不过还是免不了带着时代烙印，拍摄于二战前夕，电影刻意表现阿尔伯特亲王是一个好的德国人，以缓和敏感的英德关系