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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
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六个许久不联系的大学好友共聚一堂，计划共同度过3天小长假，让他们重逢的机遇却有些悲伤————六人中的亚历克斯在不久前自杀未遂，好友们决定照看并阻止他再次寻短。然而当有着无数共享记忆的旧日同窗相聚，早已被生活改变的他们将碰出怎样的火花？近在咫尺的旧爱又对已成人的密友们有何影响？
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年轻女子（琼·芳登 Joan Fontaine 饰）初遇曼德利主人德文特（劳伦斯·奥利弗 Laurence Olivier 饰）是在海边的悬崖边上。她以为德文特要跳海自尽，大叫一声，让德文特生气不已。然而，接下来的二人相识继而相知的经历让他们堕入爱河，结为伉俪，女子成为了曼德利庄园的女主人。 幸福的生活眼看就要铺开，这个新婚妻子却遭遇到了阴森的“寒流”。她发现这个庄园到处可见德文特前妻丽贝卡的影子，她的名字，在家具留下痕迹，更令新婚妻子不安的是，管家丹佛斯太太，更是念念不忘丽贝卡，对这个新来的主人充满仇恨。就连丈夫德文特，也不愿意解释这一切，仿佛他的内心还有旧情。 丽贝卡犹如梦魇般弥漫在曼德利庄园，事情开始变得越来越复杂。