姜星
发表于8分钟前回复 :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
王思思
发表于9分钟前回复 :口头禅“我去”,铁钉皮大衣、宽边牛仔帽、内藏深厚法力、外挂各种法器、专业捉妖、业余撩妹、出身道家、投身魔界的捉妖师“萌叔”开着挎子(摩托)带着魔界公主“芊儿”奔驰在保卫世界和平、人间安宁的旅途中。“萌叔”最近一直没法愉快地捉妖:捉妖GPRS导航和妖信摇一摇经常失灵错乱暂且不论;“芊儿”公主最近常犯花痴、飙鼻血、无法安心工作也先罢了;师弟各种半路抢功、业绩作假也不往心里去了;关键是这妖是个一根筋,找不到她的头发就各种为害人间,当然,对于阅“妖”无数、法力没谱的萌叔,其实“妖”之常情还是尽可理解啦;可是最让萌叔蒙圈的,是人——这妖捉得已经够凌乱了,怎么路遇的人类全都各种比他还要奇葩都比中二呢,这世界是怎么啦,大家到底几个意思啊……