cccSixtyGloriousYearsisanexerciseinthecreationoficonography,bothforVictoriaanditsstar,AnnaNeagle(whosubsequentlybecameknownas'RegalNeagle').JustasElizabethIcommissionedartiststocreateflatteringiconicimagesforpublicconsumption,sothisfilmperformsasimilarfunction,forNeagleismorebeautifulthanthereallifeVictoria.Controversialevents(suchasthe'Irishproblem')areomittedandunpleasantaspectsofVictoria'scharacter(herpetulance,arrogance,favouritismand'righttoprivilege')areglossedoverasendearinglittle'whims'.Albertactsasamoderatinginfluencewhenshegoestoofar.　　ThefilmfollowedayearafterthehighlysuccessfulVictoriatheGreat(d.HerbertWilcox,1937).AgainthescreenplayisbyMilesMallesonandRobertVansittart,andmanyofthesupportingcast(thecreamofactingtalentofperiod)repeattheirroles,thistimeforthecolourcameras.ThiswasthefirstfulllengthTechnicolorfilmofcinematographerFreddieYoung,whocapturesthespectacleofroyalweddings,grandballsandopulentinteriors,withscenesactuallyfilmedatroyalpalaces.Vividbattlescenes,setinAlexanderKorda'sempireterritory(SevastopolandtheSudan),rivalthoseinTheFourFeathers(d.ZoltanKorda1939).　　Thetitlemusicsetsthetonearegalchoirsingsoverashotofthecrown.Elgar's1901'PompandCircumstance'marchisheardduringthediamondjubileecelebrationsand,asVictoria'scoffinliesinstate,thefilmconcludeswithAnthonyCollins'statelymusicaccompaniedbythetextofRudyardKipling's'Lestweforget'.CombinedwiththeemotionalappealofscenesofVictoriaconnectingwithher'ordinaryfolk',thisisstirringstuff.　　Thefilmconnectswithcontemporaryeventsof1938.ThereleaseoftwocelebratoryroyalfilmswasintendedtoboostpublicaffectionforthemonarchyinthewakeofEdwardVIII'sabdication.Anglo-Germanrelationswereanothertouchysubject.Withanotherwaronthehorizon,influentialvoiceswantedappeasement,andthefilmcouldbeseentofitthatagenda.VictoriaherselfwasofmainlyGermandescent,nicknamed'thegrandmotherofEurope',whileAlbertisa'goodGerman',charminglyplayedbyAntonWalbrookasacultured,decentman.　　SixtyGloriousYearsnowseemsundulyformalandreverential.HadmoviesexistedduringVictoria'sreign(theyonlyemergedattheend)thismighthavebeenthekindoffilmproduced.UnlikeMrsBrown(d.JohnMadden,1997),itisallsovery'Victorian'.　　RogerPhilipMellor

佩吉（莫伊拉·希勒MoiraShearer饰）是一名很有天赋的芭蕾舞演员，她对芭蕾舞的热爱让她觉得她生来便是为了舞bbb。她参加了芭蕾舞剧《红菱艳》的演出，在剧中，她扮演那个穿上红鞋一直舞蹈到死的舞女，她的演出获得了业界的一致好评，她的演艺事业就此扶摇直上。之后，她结识了作曲家朱利安（马留斯·戈尔林MariusGoring饰）并且迅速坠入了爱河。为了所爱的人，佩吉放弃了自己的事业，但婚后平静的生活令她无法忍受，似乎总有一种魔力在召唤她穿上舞鞋翩然起舞。佩吉听从了内心的召唤，她离开了朱利安重新回到了舞台，但渐渐的，她想起了自己曾经扮演过的那个穿着红鞋的舞女，她觉得她们的身影正在慢慢重叠，不安的佩吉猛然醒悟，自己生命中最重要的并非舞蹈而是家庭，她冲出剧院想要重拾朱利安的爱情，但一辆火车从天而降，终结了她年轻的生命。　　影片荣获1949年奥斯卡最佳配乐及最佳艺术指导奖。

dddTwentyyearsago,oldMrs.Barlowwaskilledinherhomeat12,PimlicoSquareforherpricelessrubies.Themurderersearchedthewholehousewithoutfindingthem,thendisappeared.Thehousehasbeenemptysincethen,butnowPaulandBellaMallenmoveintotheapartment.BellaMallensuffersfromforgetfulnessandnervousness-atleastthatiswhatherhusbandtellsher.Anelderlyhorsewrangler,B.G.Roughworkedasapolicemantwentyyearsagoandstillrememberstheunsolvedcase.HenoticesthatMr.MallenlooksjustlikeLouisBarre,Mrs.Barlow'snephew.AndwhydoesMr.Mallensomysteriouslyleaveeverynightjusttogointotheapartmentnextdoor,nr.14