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
整个电影节奏其实切个比较明显，用一小小段的故事把它切分开，有点儿电视连续剧的感觉。
温情的科幻惊悚片，和《我是你的人》有得一拼。每个人演得都好棒呀，奥卡菲娜再次给到小朋友惊喜。
未来科技这么发达了，为什么疾病还是那么难治，为什么医药健康方面不能攻克一下呢？
人之将死其言也善。但是托付给克隆的自己，总觉得怪怪的，尤其是这人眼睛里有摄像头，那他岂不是属于科技公司？
这只软萌萌的邪恶的反派，曾经也是个天真烂漫，喜爱自由的小可爱呀。
当本体克隆出副本，就是两个独立的存在。
与自己告别，但吾将永存。我相信，这就是未来我们的故事，虽然我看不到，但我相信，我相信。
以另外一个存在代替自己去爱所爱之人，
（阿里的演技 好牛！
更有意思的电影难道不是“男主死在家里-复制人也被老婆发现-这下该何去何从”吗
虽然，但是，克隆技术违背人伦道德，还是不要变成现实，否则，太可怕了。
有时四月会下雪，有时我会感到很难过，有时我希望生命永不终止。爱，直到逝去，才知艰辛。
终于调对了节奏，可惜江山已经丢了大半，整体还是有了一丝久违的快乐
这种温情脉脉的改命，不也是一种傲慢么，避免家人承担自己身亡的痛苦就一定是爱么
為何對玩遊戲機的小孩發脾氣？那時能基因編輯克隆人，不能治癒癌症？
最难受的地方是和平使者杀掉Flag那一刻，真的真的好想哭。
人类在1996年成功克隆出了第一个哺乳动物——绵羊多莉，随后这项生物技术引发了公众的广泛关注，和对克隆人出现的担忧。
《黑镜 be right back》的禅意版，整部片子的基调和质感都好禅啊，让人想起乔布斯在空荡的房间一盏台灯下看书的场景。贼多镜头从背面拍过去，优胜美地一般的风景背景和孤独的人。任何人造的生死（延长寿命都不算），都是对人的本质的解构。
一面拿类型作诱饵，一面又高傲地与类型割席。不见方法，只见立场，属于被艺术殿堂的鄙视链框住了。
我该安心 还是嫉妒呢
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