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
年轻人也会得阿尔茨海默症。女强人律师得了“早老性痴呆症”，病情极速恶化，很快就什么也不记得了。女儿刚刚送到美国，身边只有曾经十分疏离的父亲。那个错过自己童年与青少年成长时期的父亲，现在需要照顾三十多岁的“孩子”。总觉得阿尔兹海默症离年轻人很远，电影里有很多关于老年人得了这个病的故事，大多会觉得遗憾又可怜，而看了这部电影会觉得痛苦又绝望
这部电影的节奏不急不缓，沉稳但不平淡，在灰暗与悲伤的基调中透出平静的温情，如同黑夜中最闪亮的仙后座，为丧失方向之人指引回家的路。
中间被暖羊羊感动到了，原来她是守护队的核心人物，突然喜欢上了默默无闻的暖羊羊。
以前大学室友特别爱看喜羊羊，所以每年一部的大电影我也都没有落下。记得当年的主题是每年的生肖，然后狼羊合作一波。这么讲，这次难得的大电影回归，就略显草率了。套在一个篮球故事里本身就不咋吸引小孩子，又没有特别多的灰太狼的搞怪内容，只剩纯惨，情怀类内容都给丢了。
喜羊羊早就不是我们儿时看的剧情了，搜了下才发现原来他本身就有一部关于篮球的动画了。
所以好看的电影真的不限制年龄
“5000多集了吧？”
明天我会再告诉你！”
2022年春节档最佳
既然选择了，那么有什么理由可以退缩呢。
排片很少，下午排片更少了，不过上座率还可以，小朋友居多，目测五六年纪的大朋友也有一些。我家二年级小朋友看得很开心，很投入。电影三观也很正，有挫折，有努力，也有奋斗，对手也没有被脸谱化，充分的友谊竞争。挺好！
剧情概要:一个女律师忽然患有阿尔海默症。逐渐变得痴呆,与父亲相互依赖的故事
和发小一起说说笑笑还比较好看，一个人看就还是有些无聊了。
鞋店里一闪而过的镜头里，青涩的3号一个crossover晃过了一头牛。
吐个槽，就是灰太狼你这孤狼最后也加入了羊羊们了，真是打不过就加入啊😂😂😂
好玩好玩
吐个槽，就是灰太狼你这孤狼最后也加入了羊羊们了，真是打不过就加入啊😂😂😂
有一个点让我很意外：开头让人觉得这片子主角是喜羊羊，过一段让人觉得这片子主角是灰太狼，再过了一段主角又变了，然后再变主角…不是没有主角，而是试图让每个人都是主角。这个衔接手法挺弱智的，就好比让《哥斯拉2:怪兽之王》里面出现的每个怪兽都是主角。一个半小时内塞这么多“人”物很难不让人怀疑是在凑时长。
最后三十分钟很燃非常燃每一个角色的高光时刻，然而整体上还是太说教和套路。只有把动画电影里的情节放在真人电影里不觉得俗套，才是真正的非子供向。
“早老性痴呆”徐玄振演员的爆发性非常强劲，安圣基演员的表演是表面波澜不惊，但是能感受到隐藏其中的力量。两个人一放一收，张弛有度的配合，也是这部电影的加分项。即使失去了记忆也不会断掉的亲人的羁绊，就像“仙后座”的指引，不知道方向也没关系，总能回到家的。
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