荣耀六十年

   量子资源网 提供本片资源  　　Sixty Glorious Years is an exercise in the creation of iconograhy, both for Victoria and its star, Anna Neagle (who subsequently became known as #39;Regal Neagle#39;). Just as Elizabeth I commissioned artists to create flattering iconic images for ublic consumtion, so this film erforms a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the #39;Irish roblem#39;) are omitted and unleasant asects of Victoria#39;s character (her etulance, arrogance, favouritism and #39;right to rivilege#39;) are glossed over as endearing little #39;whims#39;. Albert acts as a moderating influence when she goes too far.br\　　The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenlay is by Miles Malleson and Robert Vansittart, and many of the suorting cast (the cream of acting talent of eriod) reeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematograher Freddie Young, who catures the sectacle of royal weddings, grand balls and oulent interiors, with scenes actually filmed at royal alaces. Vivid battle scenes, set in Alexander Korda#39;s emire territory (Sevastool and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).br\　　The title music sets the tone: a regal choir sings over a shot of the crown. Elgar#39;s 1901 #39;Pom and Circumstance#39; march is heard during the diamond jubilee celebrations and, as Victoria#39;s coffin lies in state, the film concludes with Anthony Collins#39; stately music accomanied by the text of Rudyard Kiling#39;s #39;Lest we forget#39;. Combined with the emotional aeal of scenes of Victoria connecting with her #39;ordinary folk#39;, this is stirring stuff.br\　　The film connects with contemorary events of 1938. The release of two celebratory royal films was intended to boost ublic affection for the monarchy in the wake of Edward VIII#39;s abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted aeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed #39;the grandmother of Euroe#39;, while Albert is a #39;good German#39;, charmingly layed by Anton Walbrook as a cultured, decent man.br\　　Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria#39;s reign (they only emerged at the end) this might have been the kind of film roduced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very #39;Victorian#39;.br\　　Roger Phili Mellor