I will not attempt—in fact, it would be unfair—to catalogue the good things in this netable if somewhat uneven film. Many of the best would make poor reading, anyway. It is enough that the huge public that enjoyed "Victoria the Great" will find the same careful treatment of people sind events, against authentic backgrounds never before shown on the screen, and the same quiet tugging at the heartstrings.
The acting is on the whole admire ste. Miss Neagle has never done anything so good as her Victoria merging almost imperceptibly from rather irresponsible girl in love to "Sixty Glorious Years" can claim with justification to be the first rea' historical film to be made in colour The film also proves—as perhaps n¢ other has done—the necessity for colour in certain subjects and as suck is as much a milestone in screen history as was the introduction of sonne in "The Singing Fool."
To a subject which hes been kepi close to real events—and in their rea settings—colour adds just that finishing touch of actuality.
That is the reason for the thrilling sense of intimacy which one feels o" seeing, for instance, the beautiful grounds of Balmoral with the Castl and the Highland hills in the background in their natural colour, or again a domestic scene between the Queen and the Prince Consort played in a completely accurate reproduction of the drawing room, at Windsor Castle.
Text read from the printed page and cleaned; old type leaves the occasional error.