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
会让我想到大白，未来机器人真的会成为我们的朋友么。
最后的结尾，机器还是工具
一边讲温馨的朋友故事，一边讽刺现代科技隐私问题，故事本身有些无聊
ps：每个人都孤独这句话说的真对，全程一半时间在哭。。。
抛一个时髦的议题，造一个新颖的机器人，讲述一个老掉牙的治愈、友爱、真诚故事，或许还能骗到小孩子，但已经骗不到大人了。机器人当属瓦力，或是钢铁巨人。
小孩子反而看不进去 有些情节还是有些复杂 这是一个少年和AI共同成长的故事 也是一个探讨人工智能进化的故事 但愿我们的世界都是天然美好的发展下去吧……
臺灣片名｜《天兵阿榮》
大白mini版
ron很可爱，反讽社交网络满分，社恐如果拿到一个正常版的Bbot真的会吓死。
𝐹𝑟𝑖𝑒𝑛𝑑𝑠ℎ𝑖𝑝 𝑖𝑠 𝐴 𝑡𝑜𝑤 𝑤𝑎𝑦 𝑠𝑡𝑟𝑒𝑒𝑡，友谊是条双行道。
别说小孩子了，大人也想要放下电子产品交朋友的机会
【7.5】真不知道迪士尼动画这一套能让观众买账到什么时候，反正我是快够了。这也太能缝合了吧？！只是加入了几句新的焦虑和反思，其余所有全都是别的影视玩剩下的设定+保守老模式，结局还选择了不会让所有人共鸣的处理方式。其实我是喜欢拍得好的缝合怪的，况且孤独者+机器人卖萌的组合拳百试百灵。btw，这个时代的人们真是越来越会拍机器人了。
近年這類internet cartoon太熟口熟面了哈哈哈，對電子產品侵入兒童世界的批判不算犀利，明顯再狠毒一點無妨 specially private那一環太輕輕帶過了，發展很典型的人機友情故事，人類朋友可寫的不少卻沒有深入探討下去，大概始終是子供向
20世纪给了非常完美的答卷
14年，大白给我们智能机器人，21年，罗恩让我们放下电子产品，生活在3次元。里面有几个地方还是挺好的。
这片子显然是乔帮主赞助拍摄的，影射继任者的同时又展示了新一代智能“手机”的样子
生活里面一个问题解决，总会引出新的问题。
太好看了吧！！！故事讲述地超好啊～～～小白实在是太可爱了！就是未来的智能化手机机器人啊～～～
可可爱爱，剧情是有些随意套路，喜欢最后的程序集体复制
那顶毛线帽好看极了
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