Sixty Glorio us Years is an exercise in the creation of iconography, both for Victori a and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to crea te fla ttering iconic images f or public co nsumption, so thi s film performs a si milar functi on, for Neagle is more beautiful than t he real life Victoria. Contr oversial events (such as the 'Irish problem ') are o mitte d and unpl easant aspects of Victoria's char acter (her pet ulance, arrogance , favouritism and 'right to priv ilege') ar e glossed over as endearing little 'whims'. Albert acts as a moderating i nfluence when she goes too far. The film followed a y ear afte r the highl y successf ul Victoria the Great ( d. Herbert Wilcox, 1937). Again the screenplay is by Mile s Malles on and Robert Vansi ttart, and ma ny of the supporting cast (the c ream of acting talen t of period) re peat their roles, this time for the colour cameras. This was th e first full len gth T echnic olor film of cinemato grapher Freddie Young , who captures th e spectacle of roy al w eddings, grand balls and opulent int eriors, with scenes actually filmed at royal palaces. Vi vid battle scenes, set in Alexander Kor da's em pire territory (Sevastopol and the Sudan), rival th ose in Th e Four Feathers (d. Zoltan Korda 19 39). The titl e music s ets the tone a rega l choir sings over a shot o f the cro wn. El gar's 1901 'Pomp and Circu mstance ' march is heard duri ng the diamo nd jubilee celebr ations an d, as Victo ria's coffin lies in state, the film conclude s with Anthony Collins' s tately music ac compani ed by the text of R udyard Kipling's ' Lest we f orget'. Combine d with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', thi s is stirring stuff. T he film connects with contemporary eve nts of 1938. T he relea se of two celebratory royal films was intended to boo st pub lic affection fo r the monarchy i n the wake of Edward V III's abdication. Anglo-Ger man relat ions were another touchy subject. With another war on the horizon, influential v oices wanted appea sement, and the film cou ld be seen to fi t that agend a. Victoria herself was of mainly Germa n descen t, ni ckna med 'the grandmoth er o f Europ e', while Albert is a 'good Germa n', charmi ngly played b y An ton Walbrook as a c ultured, dec ent man. Sixty G lorious Year s now seems unduly formal and reverenti al. Had movi es existed during Vi ctoria's reign (they only emerged at the e nd) this might have b een the ki nd of film produced. Unlike M rs Brown (d. John Mad den, 1997), i t is all so very 'Victor ian'. Roger P hilip Mellor
精彩剧情/对白：“我不喜欢他，若是喜欢的话，自然就答应了刚刚的事 情。我只是觉得，他是个好首领罢了，是 真正在为族人考虑 的。他的本性是一个 很骄傲很有自尊心 的人，当他已经愿意收起自己的这 些，在我们部落面前矮 了再矮的时候，便明，他把族人放 在了首位，把自己放在后面了，有这样的首领，他的族 人很幸福。”
“老二，你刚刚也 听到了，不是我的问题，是那个 算命的和爹 害的我成了这样。往后我会好好改了，你要么带着我在身边办事好了，我们两是兄弟，我总归是不会害你的，所以你 用着也顺手。如今我没了 媳妇，就是挂 架寡人，什么事情都好办，如 何？”
“无论如何，他到底还是救了你， 如果是陆慎的人， 应该也没有什么多 余的用意，我会 和上面汇报，让他们多留个 心眼，你就不 用太担心了。刚刚他 们联系我，说 已经把你上楼的监 控画面全都删除了，从画面来看，你在前台打完 电话，就直接乘电梯去了地下一楼。”
“刚来这里住的时候 ，家里的姐姐也来找过我，她给我找了门亲 事，让我嫁了，那时候 戚尧也大了， 他爹再也没有回来 过，我就觉得是得找 个人依靠，可是 对方不肯让我带孩子嫁过去，娘家的兄弟姐妹 也没能力帮我养孩子， 所以我就把那门亲事给拒绝了。”
“看到你 ，就想起我年轻时候的模样，我年轻时候大概也是像你这样，身上有股韧劲，嫉恶如仇，对 一切不合理总是针 锋相对，现在年岁大了，棱角都被时 间磨平了，儿女的 事情总让我有操不完的心，不知不觉，我已经成了 最世俗的人
