电影荣耀六十年

荣耀六十年

影片信息

  • 片名:荣耀六十年
  • 状态:已完结
  • 主演:Anna/Neagle/Anton/Walbrook/C./Aubrey/Smith/Walter/Rilla/
  • 导演:Herbert/Wilcox/
  • 年份:1938
  • 地区:英国
  • 类型:剧情/
  • 时长:内详
  • 上映:未知
  • 语言:英语
  • 更新:2025-11-28 15:52
  • 简介: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
  • 微信扫一扫分享

  • 扫一扫用手机访问

 立即播放 暴风资源

选择来源

  • 暴风资源
9.0
网友评分
  • 很差
  • 较差
  • 还行
  • 推荐
  • 力荐
335次评分
9.0
网友评分
  • 很差
  • 较差
  • 还行
  • 推荐
  • 力荐
335次评分
给影片打分《荣耀六十年》
  • 很差
  • 较差
  • 还行
  • 推荐
  • 力荐
我也要给影片打分

扫一扫用手机访问

首页电影剧情片荣耀六十年

播放列表

 当前资源来源暴风资源 - 无需安装任何插件
 倒序

剧情简介

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

独家影评

影片《荣耀六十年》作为一部承载历史厚重感的电影作品,以独特的叙事视角和细腻的情感刻画,带领观众穿越时空,亲历那段波澜壮阔的岁月。观影过程中,最直观的感受是影片对“时间”与“成就”的双重诠释——它并非简单地罗列历史事件,而是通过个体命运与时代洪流的交织,让每一个重大转折点都充满人性的温度。导演巧妙地将宏大叙事拆解为多个情感支点,使得长达六十年的时光跨度既不显冗长,也不流于表面,反而让观众在角色的悲欢离合中,真切触摸到时代变迁的脉搏。

在角色塑造上,演员们的表演堪称一大亮点。主角从青涩少年到白发老者的蜕变,不仅依赖妆容技术的支撑,更源于演员对角色心理的精准把控。无论是面对国家建设时的热血澎湃,还是遭遇个人挫折时的隐忍坚韧,细微的表情变化与肢体语言都将角色内心的挣扎与信念传递得淋漓尽致。配角群像同样出彩,工人、农民、知识分子等不同身份的角色共同编织出一幅立体的社会画卷,他们的互动与碰撞,既展现了集体主义精神的力量,也保留了个体的独特性,避免了符号化处理的窠臼。

叙事结构方面,影片采用了非线性的多线并进模式,过去与现在的场景穿插交织,既打破了传统线性叙事的单调感,又通过巧妙的镜头语言完成了时空转换的自然过渡。例如,一段关于改革开放初期工厂改革的回忆,可能以老照片的泛黄色调切入,随即转入现代都市的繁华街景,强烈的视觉对比却毫无割裂感,反而强化了历史延续性的主题表达。这种结构的精妙之处在于,它让观众意识到:每一个当下的成就,都是无数过去选择的叠加,而未来的辉煌,亦始于此刻的坚持。

主题表达上,影片始终围绕“奋斗”与“传承”的核心展开。无论是描绘早期建设者克服物资匮乏的顽强意志,还是展现新时代青年在科技领域突破创新的勇气,都在强调一种跨越代际的精神共鸣。尤其令人印象深刻的是,影片并未回避历史中的困难与挑战,而是通过展现人们在逆境中的抉择与坚守,凸显出民族韧性。结尾处,当镜头缓缓掠过现代化城市的天际线,画外音响起不同年龄段角色的独白片段,那句“荣耀属于每一个平凡的参与者”瞬间升华了主题——真正的伟大,从来都诞生于无数普通人的点滴努力之中。

为你推荐

 换一换

评论

评论已关闭