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
咋就是说这个导演选角，这颜值这块就拿捏的死死的，而且超有赘婿的味
恶魔驱神，听上去挺有意思，但拍出来却差强人意，只是把一个老派且过时的内容颠倒了一下主被动，最后结局也不过是老生常谈。在宗教驱魔已经不吃香，甚至“坏神父”都已经过时的时代，还在披着传教外衣偷偷摸摸黑宗教，这反应是不是有点太慢了。。。。人家十多年前讲的笑话他今天才哈哈哈，说我也讲个类似的，结果还不好笑。
嗯 苏文兴就算是离家创业，无能这个人设也丝毫没有改变，靠着高甜才能做起来，而且方法上和剧版比没有太多新意，不过是男女方换一下位置。简单看一下吧。
虽然不是原班人马，但是搞笑点很多，剧情很好…
说来也不信，一个配角靠吉吉国王当上了主角…
算的上《赘婿》的特别篇了，承上启下，虽然在一个故事架构中，只不过剧情什么的真的无感，这种引申出去的故事，确实尴尬，但近几年这类作品出的好多。。。
什么鬼烂片。搞几个互联网APP概念直接套古装可以，但是本身人物和行为得有灵魂吧
对不起先入为主。。吉吉国王就应该当反派就好了。
很不错呀，轻松幽默！！！值得花一个多小时娱乐！
这是什么垃圾玩意，怎么感觉和赘婿的剧情差不多，却一点意思没有呢，可能是二房那个太无聊了吧
赘婿之吉吉王国番外篇，无聊看看还是不错的，剧情一般化，但内容有包袱有笑点。
恐怖程度一般，但是创意很多，和曲杨在实验室看的。
赶鬼与赶主同步进行倒是很新颖，影片暗讽末世的教会现状也的确是很贴切了。但在基督徒的角度，Father Peter终究还是软弱了，靠与恶魔Balban的交易，结果必定不是喜乐，无花果树能生橄榄吗？葡萄树能结无花果吗？咸水里也不能发出甜水来，得胜只能靠主。
结局有点意思。和恶魔完成交易，恶魔得以潜藏于神殿。
虽然是追剧的一个支线故事，但是感觉还是延续了赘婿一贯的爽文风格，这部电影值个三星半，剧情挺不错的。
竟然有大电影，挺下饭的，就是下饭电影。家有兄长，传道授业解惑再就业的故事。
赘婿续集，有相当多和赘婿中呼应的梗，看的不亦乐乎
就很无厘头恶搞的片子 倒也不乏有点女权的味道在 还行吧 只是拿来笑一笑
“什么大马猴，老子是齐天大圣”——吉吉国王
期望值不高，作为网络爽剧，人物性格和剧情都不错，为我迎来了欢快的一上午心情，好评！
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