荣耀六十年
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2.0 |04月15日 |HD中字
简介:

  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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  民国初年,大珠宝商沈达先生无病暴亡,悲痛至极的沈少爷终日守候在父亲灵前。深夜,一把带着黑帖的匕首飞入沈府灵堂,帖上写着:"沈少爷,断指团三日内来取人心!"第二天,沈府老管家请来函大侦探杜义甫和他的女儿石楠。第三天,在外埠上学的沈小姐赶回来奔丧。在父亲生前的朋友、商会孙会长的劝说下,沈少爷陪妹妹到墓地凭吊父亲,结果遭到匪徒的枪击。在医院,沈府上下围着"死去"的沈少爷恸哭不已,而孙会长却用充满怀疑的双眼死盯着沈少爷苍白的面孔。这一切都被化装成医护的杜义甫看在眼里,于是,他求助军界朋友王营长,以绑票形式将孙什么关押。几天之后,杜义甫从逐渐康复的沈少爷口中得到重要线索。原来,沈达先生有一颗稀世之宝--八窍珠。沈达死后,沈少爷不发现宝珠已被人偷换了,他意识到父亲的死定与宝珠有关,就把自己的怀疑告诉了孙会长,从此,灾难接二连三落在他头上。杜义甫断定这是二桩窃取国宝的大案,除断指团外,还可能牵扯到政界的一些大人物,最为可疑的是财政厅长吴锡仁。吴锡仁有至双胞胎儿子,弟弟安邦是个善良的大学生;哥哥定国却是个纨绔子弟。此时,继指团的人盯上了吴定国。杜义甫推断吴锡仁很可能就是那个暗害沈达,偷换宝珠的人。事实果然如此,吴定国携宝珠潜逃途中被断指团杀死,石楠又从断指团手中将宝珠夺了回来,令双方始料不及的是,这却是一颗假宝珠。断指团被激怒了,他们暗杀了孙会长,绑架了沈小姐,并将吴锡仁押进租界区G国商人鲁斯的住所。深夜,杜义甫潜入鲁斯卧室截走了八窍珠。然而这次行动却导致杜家被抄,沈少爷再次失去宝珠,石楠为救父亲身陷囹圄,杜义甫险些丧命。一个神秘的电话使大侦探再次抓住有利战机,从鲁斯手中夺回了八窍珠。在归家途中,杜义甫遇上了一位白发老人,原来他就是16年前被害入狱的断指团创始人崔毅,而石楠就是他的亲生女儿。案子终于了结了,可等待大侦探的却是一张通缉令。杜义甫毅然将那颗宝珠沉入深潭,告别了义女石楠,从此出家隐居。

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