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
感動，但是也覺得傷心……
想法十分不错，从克隆人类型中另辟蹊径，不再从争夺、替代、欺骗这些直接的主题中寻求新时代（姑且这么称呼）生命体的答案，而是让他们在人类因故离去之后，完成人类所未完成的任务或使命，很有点像前段时间的《芬奇》，代替人类守护家人（宠物）这样的设定，整部片子节奏舒缓，极其适合消磨午后时光，四颗星。
涉及伦理纲常和人格侵犯，很多事情都那么模糊，最明朗坚定的是贯穿整篇是爱。克隆本是一个科幻的主题，却用温情的故事来讲述，用本体的视角去窥探，仿佛Jack不是克隆人，就是卡梅隆身体的延续、为卡梅隆完成他以后的人生。
非常圆角矩形审美，质感不错。但是太中规中矩了，宁愿真的发生点什么
不多bb
小成本制作的精彩电影。
找一个替身继续陪伴真的是对另一半更好的选择吗
这真的是一个人可以为另外一个人做出的最大牺牲了。
究竟是阿里把这个角色变装逼了 还是阿里把啥都变装逼了 阿里能不能挑战一下演个kevinhart那种角色
对结尾比较失望，我还以为有什么反转，结果就是想单纯的引起思考？问题是片中思考太肤浅，不够深入，披着科幻的剧情片，然而探讨却是隔靴搔痒。
工整的科幻想象。too much man.
沉浸而克制，整部剧作还是欠些许火候，只是，最后一秒还是没绷住。
节奏异常舒适 阿里演技太绝了 奥卡菲娜也很棒 最难得的是在这么多影片里总看到她都不会腻 我很喜欢最后温暖的结局 ♥️
软科幻，情感上大于内容，阿里演的太好了，每一个眼神都饱含着情感，内容不多，就导致太碎片化，立意也很浅，像概念的延伸
科幻片要讨论伦理问题是很正常的，也可以说理所应当深入到人伦的深处去。但有一个前提，就是这事有可能发生，这个有可能构建于理性可以理解的范围。类似这种我嫉妒我的架构就难有说服力，无限接近但依然不接近才是正确的打开方式。
一个人的离开先从身体的离开，再从精神上剥离。可是，记忆。或许是可以复制，但情感不能复刻。
是为了给主演预留奥斯卡moment？短片的容量硬是水到两个小时，不过还是支持阿里三封
没有多少科幻炫技的东西，其实通篇都是对生命、爱情的思考。看完莫名的伤感。
是我看过最感人最温情的科幻片，也让我在想我们拿克隆技术到底为什么 延长寿命还是单纯代替自己
3.5，科技乐观主义片。过去在讨论“什么定义了我是我？”时，主流观点之一是“回忆”。在记忆和情感、喜好都可以共享传送的设定下，克隆人的确就是生命的延续了，只是对原来的那个人就不太公平了。男主演技佳，本体和克隆人的微表情区分绝了。这片结局没有任何反转、黑化，Cameron本身就是很不错的人呀。这部片是我今年看过的第三部用书架上有很多相同的书表现情侣是soul mate的电影了。还有，小狗才是最好的！
Copyright © 2015-2023 All Rights Reserved
