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
带小表弟去看，挺好看的，就是我熬夜在大战的时候碎着了，等APP上架是重新看一下
最后小女孩和小熊拥抱那里，突然感叹幸好是熊主角，看起来就很治愈很顺理成章，不会有ntr感😂
在这么不好看乃至有盗版嫌疑的角色上发展出像模像样气势宏大的宇宙故事，感受到了中国动画人的精神
从此以后熊出没从我的春节电影list中移除
2片尾打斗非常像哥斯拉大战金刚
有点像毒液➕钢铁侠➕一堆漫威电影。但有这样的特效，中国动漫未来可期吧。
熊出没系列的电影质量已经逐渐稳定在一个水平了，这是件好事。
个人感觉可以称为2022年国产第一科幻片！
没有熊出没基础的成年老阿姨，意外觉得挺好看的
熊二成长了，这个知名的国民IP也在进步，加油。
儿子要求看的，上初中的他看得嘻嘻哈哈，高兴的不行。画面和特效依旧在线！但对很小的还沉浸于熊出没电视动画片的孩子来说，我觉得会害怕。后面的打斗对大人来说，让人丧失兴趣。所以，从受众的接受度来看，并不讨喜。
剧情越走越偏了，不是单纯的卖萌卖蠢就可以吸引观众的，虽然是子供向，但好歹有个正常通顺的剧情吧
三点五星手松可以四星
里面美丽的场景画面、一流的特效、对熊二这个人物的完美刻画使得电影整体而言中等偏上，也有些友情、亲情、爱情的融合～
2001太空漫游？库布里克？机器人总动员？月兔？超人？闪电侠？DC？玛丽莲梦露？特斯拉大战金刚？
陪着儿子断断续续看了好几遍，还蛮上头的😅我崽看天才威的机器人会害怕，这里面的机器人倒是看得津津有味，对打的时候超兴奋，还会模仿天火走路，我也是搞不懂他的害怕点。连看好几遍连里面的情节都记住了，下次开电视看到了依然眼睛都不眨的继续看，凡是能让我崽乖乖的都是好电影
没事的，一切都会好起来的！
带孩子看的，很不错啊！为啥打分这么低？情节完整，孩子能看懂，画面做得很棒啊，国产动画真的进步很大！
最后小女孩和小熊拥抱那里，突然感叹幸好是熊主角，看起来就很治愈很顺理成章，不会有ntr感😂
就这种抄袭融梗各种片子抄一抄，连主题都要炒好几部片子的电影也能叫有诚意？真不怪有人摆烂，摆烂也有人吃这一套。
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