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

荣耀六十年：时代的画卷，生命的诗篇

《荣耀六十年》是一部以庆祝中华人民共和国成立70周年为背景的年代剧，讲述了从1959年到2019年，一群来自不同家庭、不同背景的年轻人怀揣着梦想与激情，在祖国建设的浪潮中奋斗拼搏，最终成就辉煌的故事。

故事从1959年“大跃进”时期开始，以三个家庭为中心展开：

梁家：梁父是一位老党员，带领着家人响应号召，投入到社会主义建设中。梁家大女儿梁晓燕，是一位充满理想的青年教师，她怀揣着为祖国培育人才的梦想，投身于教育事业。梁家小儿子梁晓光，则是一个调皮捣蛋的少年，在时代的浪潮中不断成长。

周家：周家是知识分子家庭，父亲周教授是一位优秀的科学家，母亲是一位贤惠的家庭主妇。周家唯一的女儿周晓静，是一位天真烂漫的少女，她对未来充满着美好的憧憬。

王家：王家是普通工人家庭，父亲王大国是一位勤劳朴实的工人，母亲是一位贤良淑德的妇女。王家儿子王晓明，是一个沉默寡言、却有着一颗善良热忱的少年。

这三个家庭的命运交织在一起，他们共同经历了新中国成立后六十年来的跌宕起伏：从“大跃进”时期的狂热，到“文革”时期的动荡，再到改革开放后的蓬勃发展，他们始终坚守初心，为祖国建设贡献着自己的力量。

剧中，梁晓燕在教育事业上取得了巨大的成就，她用自己的知识和热情培养了一代又一代优秀人才，为祖国未来的发展贡献着自己的力量。周晓静继承了父亲的衣钵，成为了一名优秀的科学家，为祖国的科技进步添砖加瓦。王晓明则在改革开放的浪潮中脱颖而出，成为了一名成功的企业家，用自己的智慧和汗水为祖国创造着财富。

除了个人命运的展现，该剧还通过人物的经历，展现了新中国成立以来，祖国在政治、经济、文化、科技等各个领域的巨大成就。从基础设施建设到科技发展，从人民生活水平的提高到文化领域的繁荣，剧中都以细腻的笔触展现了时代的风貌，刻画了不同历史时期人们的生活状态和精神面貌。

《荣耀六十年》不仅是一部展现时代变迁的史诗，更是一部充满温情和正能量的电视剧。剧中的人物，他们既有自身的缺点和不足，也有着高尚的品格和坚定的信念。他们用自己的努力和奉献，书写了时代发展的故事，也诠释了中华民族的伟大精神。

这部电视剧不仅能够唤起观众对历史的记忆，更能够激励人们继续为实现中华民族伟大复兴的中国梦而奋斗。它是一部时代的画卷，也是一部生命的诗篇，值得每一个人用心去感受和体会。