The local barre studio is currently flooded with shameless promotions for hot pink and fluorescent items that I have never worn, even though I’ll be participating in a class themed Barbie. My Instagram feed and inbox are both filled with these promos, either indirectly or directly. It seems like every retailer catering to women has jumped on this bandwagon again. Then, in a silly office box showdown, another highly anticipated movie that is deemed to be the opposite in ideology and aesthetics is pitted against Barbie. In the wake of this, many memes have been kicked off. Maybe Greta Gerwig’s Barbie movie became more of a movie based on one of America’s most emblematic intellectual properties than we thought, as critics have unveiled it to us before the film’s release.
Perceptions of the public have not always been aligned with the grand ambitions of Ruth Handler, the creator of the iconic Barbie doll. In their co-written fantasy film, Noah Baumbach and Greta Gerwig explore the harmonious yet complex relationship between today’s consumers and the brand, drawing upon the historical context to imagine a more idealistic connection. The film, with its offbeat and technicolor aesthetics, delves into the perception of the public towards this free-spirited and unconventional plastic woman, highlighting the contrast between Handler’s aspirations and the public’s reception.
Corporate propaganda can sometimes be incredibly enjoyable: let’s be honest and address its own complexities. Barbie is enthusiastic, but credit must be given to Mattel Films as the producer. The movie’s existence doesn’t make it any less problematic as a corporate propaganda piece.
The unseen cheeky narrator of the film, voiced by Helen Mirren, channels the ghost of Handler and expands the young girls’ horizon for playtime by noting that anyone and everyone can be Barbie, including Black, brunette, and president Issa Rae, author Alexandra Shipp, doctor Hari Khan, and Chaka. Cleverly riffing on the opening sequence of the film 2001: A Space Odyssey, the doll positions itself as the ultimate game changer in the universe, going beyond the maternal instinct.
(We will discover the truth soon.) Male dominance? Where? Barbie’s numerous extravagant garments or cherished convertible, a less significant accessory compared to Barbie’s numerous extravagant garments or cherished convertible, even though he is merely “unnecessary.” There are also various versions of Ken, referred to as Barbie Land, where each version of Barbie resides happily in their own flawless Dreamhouse, have resulted in a kind of paradise called Barbie Land, where every version of Barbie lives joyfully in their own flawless Dreamhouse, Her symbolic adaptability and aspiration.
Gloria (America Ferrera), a Mattel employee, and her mother, a disillusioned tween named Sasha (Ariana Greenblatt), serve as the human guardians of Barbie. In the far from perfect real world, Barbie and Ken embark on a journey, triggered by strange events that disrupt Barbie’s flawless existence. These events are preceded by uncontrollable thoughts of mortality that suddenly overwhelm Barbie during a spectacular, intricately coordinated group dance. Despite her attempts to shake off these thoughts, Barbie is unable to do so. Ken, who persistently pursues her, is left dismayed by her awkward avoidance. Barbie spends her days at the seaside and her nights hosting slumber parties. The central Barbie, portrayed with enthusiasm and edge by Margot Robbie, embodies the stereotypical image of Barbie.
Ken, the beloved and famous character from Barbie’s world, has evolved into a more relatable and far more recognizable counterpart than ever before. In the Land of Barbie, he stands out as an instantly recognizable, exaggerated, and relatable dude. He embodies American masculinity with a pitch-perfect rumination on the complexities of identity. Ken, the true embodiment of a handsome himbo, is deeply insecure about his relationship with Barbie and his own sense of self. In the movie, he becomes the secret weapon of the CEO of Mattel, played by the incomparable Will Ferrell. The cast also includes the talented Kate McKinnon, adding to the delight and humor of the film with plentiful jokes. Throughout the movie, director Baumbach and writer Gerwig skillfully touch upon a myriad of metacommentary and ideas, creating a vision that both entertains and provokes thought. This rundown of the movie only begins to scratch the surface of the blast that audiences will have when they watch it.
I wouldn’t put it past Gerwig, a proven filmmaker and astute thinker, to work previous eras into her film. In the particular era of #Girlboss and white progressivism, there is a sly swipe at the stereotypical Barbie, acknowledging that she is still a symbol that represents a large, white, supermodel-esque image. The movie expands on the facial features and shapes of the doll, admitting that there is a case to be made that Barbie is stereotypical. In recent years, Mattel has tried to combat plummeting sales by representing everyone and exalting all types of beauty. Margot Robbie, who is likely the first image that comes to mind when thinking of Barbie, is exactly rendered as the stereotypical Barbie: straight, thin, blond. While there is inevitably a conflict that arises when considering Barbie’s self-critiques, they are sealed with Mattel’s approval. But American masculinity will never be ripe for ribbing.
Barbie’s limitations as a vehicle for substantial commentary are twofold. However, the execution can be awkward at times, such as a lengthy and stiff monologue addressing the challenges of being a woman due to The Patriarchy. (Nevertheless, this speech received applause from my audience, which was not surprising given the character’s critique of unrealistic beauty standards.)
Stan Lee, the nearly legendary figure behind Marvel’s ongoing exaltations, is breathlessly burnishing the brand’s fashion in favor of Mattel. Even though the self-referential and overtly silly punches come off more favorably, one cannot overlook the inherent critique when examining the entity under a microscope.
There are also musical performances and exceptional guest appearances. The makeup team skillfully maintains a balance between a sense of artificiality and avoiding an eerie, unnatural appearance. Barbie Land is portrayed exactly as children have imagined it for many years, with both physical elements (plastic shower, toaster, or car) and abstract elements (invisible water, toast, or motor). Sarah Greenwood’s production design is truly impressive, captivating both the senses and the imagination. Barbie is not just a film that is weighed down by artistic compromises; it is a movie that embraces its unique qualities. (I would also love to have Lizzo sing-narrate my life, please!). With that being said,
And did I already mention Ryan Gosling? RYAN. GOSLING. YES.
It’s hard to think about how execution may be its odds, as it exposes and lays bare the tension between heightened sensibilities and unabashed commercialism. Something like Barbie, the movie always aims to present itself as a work of Terrence Malick-like idiosyncratic endeavors, rather than a broad Hollywood blockbuster. There is always a tension between commerce and filmmaking, and this movie sits at an interesting inflection point in the consumption and production of movies, where almost every idea seems to be born from a pre-existing product.
It’s an interesting oddity that Barbie is a part of the world, but what makes it even more fascinating is that you’ll be happier visiting it.