荣耀六十年

《荣耀六十年》讲述的是什么故事？

《荣耀六十年》　　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

一、《荣耀六十年》是哪一年上映的？

《荣耀六十年》是Herbert Wilcox于1938年拍摄的一部经典剧情片。此片开创英国当代剧情片的先河，《荣耀六十年》上映时票房稳坐前三，创下当年纪录。当时Anna Neagle,Anton Walbrook,C. Aubrey Smith,Walter Rilla均为最佳主角，Anna Neagle,Anton Walbrook,C. Aubrey Smith,Walter Rilla以精彩演技和突出形象，奠定在英国影坛地位。Anna Neagle,Anton Walbrook,C. Aubrey Smith,Walter Rilla饰演角色造型多年后仍为人所模仿。Herbert Wilcox之前曾被人怀疑其能力，而《荣耀六十年》却奠定Herbert Wilcox剧情片风格。《荣耀六十年》首映时曾获海外剧情片和媒体广泛称誉，被认为其优秀程度，是足以与同时期（指1938年代）英国优秀剧情片齐名。

二、被称为剧情片的开先河之作的《荣耀六十年》，是Herbert Wilcox最好的作品吗？

从Herbert Wilcox斩获剧情片最佳导演开始，很多观众就觉得这部《荣耀六十年》是他极具代表性的剧情片。虽然Herbert Wilcox后来还拍出过评价很好的作品，但是《荣耀六十年》依然常被认为是他剧情片创作中的重要代表。

三、《荣耀六十年》为什么可以成为经典？

提起英国，不少观众都会想到《荣耀六十年》的名字。这部由Herbert Wilcox导演，Anna Neagle,Anton Walbrook,C. Aubrey Smith,Walter Rilla主演的《荣耀六十年》，在当时凭借鲜明的人物塑造和紧凑的剧情片叙事获得了不错反响。正是人物命运、情绪推进和故事节奏之间的相互配合，让《荣耀六十年》在同类型作品中具有较高辨识度，也让观众对其中的情节留下深刻印象。

四、如何评价《荣耀六十年》？

《荣耀六十年》口碑表现稳定，深受广大观众喜爱。不仅Anna Neagle,Anton Walbrook,C. Aubrey Smith,Walter Rilla的表演有看点，而且该剧情片故事情节紧凑，影视6（6.hnttlq.cn）观看起来流畅，同时还能保持较强的剧情吸引力。虽然不同观众对《荣耀六十年》的评价各有侧重，但该片目前的受欢迎程度已经名列同类作品前茅。

五、《荣耀六十年》剧情片的主要内容

《荣耀六十年》是一部剧情片作品，由导演Herbert Wilcox执导，Anna Neagle,Anton Walbrook,C. Aubrey Smith,Walter Rilla主演。影片围绕主要人物的经历展开，通过人物关系、情节推进和情绪变化，呈现出一段具有观看价值的剧情片故事。

《荣耀六十年》　　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