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提莫西·查拉梅,贊達亞,麗貝卡·弗格森,弗洛倫絲·皮尤,奧斯汀·巴特勒,蕾雅·賽杜,哈維爾·巴登,斯特蘭·斯卡斯加德,喬什·布洛林,戴夫·巴蒂斯塔,克里斯托弗·沃肯,蒂姆·布雷克·尼爾森,夏洛特·蘭普林,安雅·泰勒-喬伊,斯蒂芬·亨德森,安東·桑德斯,索海拉·雅各布,特雷茜庫根,阿倫·梅迪扎德,伊莫拉·加斯帕爾,塔拉·佈雷思納克,小彼得·斯托亞諾夫,莫利·麥考恩
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梁朝偉,劉德華,蔡卓妍,任達華,方中信,陳家樂,白只,姜皓文,太保,錢嘉樂,袁詠儀,周家怡,岑珈其,李靖筠
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安志傑,曾志偉,古斌,何珮瑜,洪浚嘉,盧惠光,陳保元,林子善,王軍輝,王合喜,黃竣鋒
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崔智友,李瑜美,崔珉豪,表志勳,河多仁,鄭東元
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黃渤,周迅,祖峯,張宥浩,周依然,顏北,孫安可,閆妮,王迅,阿部力,施詩,謝銳韜
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華金·菲尼克斯,凡妮莎·柯比,露德溫·塞尼耶,本·邁爾斯,凱瑟琳·沃克,伊恩·麥克尼奇,塔哈·拉希姆,優素福·凱爾科爾,保羅·瑞斯,愛德華·菲利波納特,馬修·尼達姆,約翰·霍林沃思,斯科特·漢迪,安娜·毛恩,漢娜·弗林,山姆·克萊恩,達維德·特治,本傑明·奇夫斯,喬納森·巴恩維爾,彼得·桑迪斯-克拉克,菲爾·康韋爾,加文·斯派克,哈里·陶樂西,科馬克·海德-科林,羅威娜·本特利,艾琳·安斯沃思,吉恩-帕斯卡爾·海涅曼德,大衛·韋雷,約翰·霍奇金森,伊莎貝拉·布朗森,斯蒂芬·菲切特,愛德華E.沃特,布賴恩·
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洪薩賓,宋仲基,金亨瑞,樸寶慶,鄭在光
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娜塔莉·波特曼,朱麗安·摩爾,查爾斯·梅爾頓,佩珀·柯達,D·W·莫菲特,科裏·邁克爾·史密斯,德魯·謝伊德,喬斯林·謝爾福,伊麗莎白·於,安德里亞·弗蘭克爾,艾莉·麥卡洛克,餘朝漢,勞倫斯·阿蘭西奧,查爾斯·格林,海莉·威斯特,漢斯·奧布瑪,洛基·戴維斯,扎卡里·布蘭奇,克里斯·坦齊斯,安妮·韋伯
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申惠善,李濬榮,車宇民,李都恩
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張繼聰,鄭浩南,張建聲,蔡瀚億,黃光亮,林雪
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姜棟元,許峻豪,李絮,李東輝,金鐘秀
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安妮特·貝寧,朱迪·福斯特,瑞斯·伊凡斯,Ethan Jones Romero,潔娜·易,Johnny Solo,盧克·科斯格羅夫,卡莉·羅森博格,Anna Harriette Pittman,埃裏克·米勒,艾瑞卡·趙,Garland Scott,Tisola Logan,馬庫斯·楊,Samantha Gordon,Mauricio Adrian,Anne Marie Kempf,Marcella Acuña Báez,Lilo Grunwald,Nadia Lorencz
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尼古拉斯·凱奇,瑞秋·凱勒,山德·貝克利,弗萊德·赫欽格,傑里米·博布,保羅·拉西,艾梅柏·羅斯·梅森,傑夫·梅德利,鄧肯·維扎因,祖祖·溫加特,馬修·帕吉特,加布裏埃爾·克拉克,斯科特·麥考利,蘭斯·奧托,邁爾斯·奧克蘭
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河正宇,任時完,裴晟祐,樸恩斌,金相鎬
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黃曉明,閆妮,塗們,闞清子,張嘉鑫,王影璐
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