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
挺紧张刺激的，就扯了点，反派也突然神经质造反，一直以为男主是河正宇
韩国现在拍动作片有自己的风格，镜头感特眩的，很有范，就是故事有些混乱，灵魂穿越就讲得一头雾水。
一开始有点迷惑，要倒回去看几遍才理清楚脸，后期又不变脸了，变成武斗剧，整体挺新鲜有趣的，可惜节奏不太好
灵魂都能附体了，你就这样使用而已？？？？？
主角和配角都没那味，动作戏也差一点火候，浪费了好题材。
【Prime】如果和同题材的摇滚芭比比，简直一个天上一个地下。本片冲突设计过于突兀刻意，对于drag身份的表现十分肤浅，jamie所经历的挫折更是浅尝辄止，一切大和谐。但正如本片中所说，过往的drag是warrior，过往的那些电影也是warrior，而现在的（本片）观众恐怕是更适合接受这种“show off”“get fame”的轻松表现，毕竟时代不同了，现在come out两次都并不新鲜。不过毕竟有真人真事和音乐剧打底，而卡司的相对路人化没有喧宾夺主，这就比netflix的prom要好处很多了。一旦接受设定之后并不出戏，也算是难能可贵了。
和舞台版一比真的有对比有伤害，支零破碎完全燃不起来，换歌真的搞不懂，倒也不必强加那么多意义进去，大概亮点就只有Richard E. Grant了，然而再看回你朝最近娱乐行业的各项阴间训条，又不舍得给它打低分，Jamie永远是我最爱的音乐剧之一
没有想到开篇的流浪汉居然起到这样大的作用。“我是热狗，你是可乐饼”，真的笑死。
舞台估计比电影效果好。要么还是多出官摄算了，满足没去剧场的我，但改编电影很多时候真的会不一样，电影的叙事语言和舞台还是不同。theater has its own power.
虽然对剧情和人物塑造比较无语，但是不得不说歌都挺好听的
有趣的設定、精彩的動作，甚至還有人人都愛的搞笑拍檔組合，但直到電影結束都還是沒有一個合理的解釋，是很有自信一定會拍續集？
韩国悬疑片质量也很高。这片子好在时间线一直是前进的。不过如果主角没有把所有boss都灭掉，是不是可以一直在这几个人之间切换不死了？
【2021-13】Amazon上看了一下，感觉真的是个变装皇后的童话故事了，包容一切无比爱孩子的妈妈，鼓励Jamie做自己的朋友，变装店上的mentor，还有最后被大家接纳的舞会。Jamie是极其幸运且被热烈爱着的啊。每次都说这种已经算LGBT的剧情已经算是常规路径了，还是被里面的温暖击溃了。后面准备去西区搞一下剧场版。
能够做自己真的很勇敢。有这样一位妈妈也是真的幸运。整体三星但是因为Pritti多给一颗星，她太棒了！！
A附身B，附身C，附身D，附身E，都是只为保护一个女人。
能够做自己真的很勇敢。有这样一位妈妈也是真的幸运。整体三星但是因为Pritti多给一颗星，她太棒了！！
啊啊啊啊啊宝贝好漂亮！宝贝好勇敢！我好快乐呜呜呜！！（Don't wait for tomorrow.Be happy today！！And all of those stupid people. Who cares what they say！！）
应该用多名演员来扮演主角的，不该只用一个演员。这么强的情节已经足以唤起观众共情了。没必要非得怼着一张脸拍。这么搞还很乱。导演应该更自信点。
韩国的科幻、奇幻片近年来频频试水，有的作品已经达到一个较高水准了，这部心理科幻片也还不错
在传统故事的基础上包了一件新衣，不必较真，看着玩就是啦
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