Barbie Review
Films based on toy brands have been around for decades now. Transformers, G.I. Joe, Lego and even Bratz have all been adapted to the big screen with varying success. While all these brands are massive in their own right, there has not been a toy with quite as much meaning, or history, as Barbie. The massive IP that is Barbie would be a tough endeavour for any filmmaker to pursue, however writer and director Greta Gerwig has made a punchy, satirical, feminist piece that manages to entertain throughout.
From its opening narration by Helen Mirren and the parody of 2001: A Space Odyssey, Barbie’s post-modern playful nature is made very apparent. From here, the daily life of Barbieland is shown, as the Barbies goes about their perfect existence being awarded in a multitude of industries, going to the beach, and ending their day with a glamorous party and a slumber party. What more could one ask for? However, things begin to turn when Barbie begins to ruminate about death and her feet have now suddenly become flat. To understand these strange new happenings, Barbie must travel to the real world to confront her owner who is morphing her into something else.
Barbie is a completely nonsensical picture, and it is all the better for it. The entirety of the cast brings gleefully childish performances to their Barbie’s and Ken’s, acting as if they are kids in dress up. Margot Robbie’s turn as a lost doll now suddenly burdened with purpose has the hardest performance, but Robbie strives in both the comedic and the dramatic bringing real heart and soul to this plastic person. Ryan Gosling as Ken will undoubtedly be a crowd favourite, having some of the biggest gags and a massive musical number. Yet, it was Ken’s vitalness to the film’s overarching plot that came as surprise, but a humorous and welcome one at that. His discovery of the patriarchy leads to one of the film’s funniest sequences and Gosling pulls it off, completely immersed in the silliness and fragility of Ken’s ego.
In many ways, Barbie acts as a cautionary tale, understanding the importance gender has to one’s identity, how it can empower but - if disproportionate - will squander progress. Ken’s awakening to the patriarchy sets him free, understanding that he can have an identity outside of Barbie. However, it demonstrates that attaching oneself to an extreme version of masculinity will only cause harm. When the film takes humorous jabs at masculinity, it is only when the power is disproportionate, and the testosterone is dialled up to eleven. If you feel attacked by Barbie, then maybe it is time you did some self-reflecting.
The idea of what Barbie is and her own history are also tackled here. The impossible beauty standards she represents, as one character puts it, “set the feminist movement back fifty years.” Once again, identity is under attack here and Barbie too is having a crisis of self and what she means to the world. Gerwig’s ability to bring existential questioning and sincerity to an outlandishly silly picture, along with Robbie’s ability to capture the emotional resonance of the character is a true achievement.
The production and costume design is stellar, soaked in primary pinks and a multitude of colour, Barbieland feels like a definitive toy world brought to life. Perhaps the only downside to Barbie is when things bleed into the real world. The film almost instantly loses its cinematic flare, being shot and lit in a very unremarkable way.
Nevertheless, Barbie is a blast. One that manages to bring the laughs without the expense of its ideas and commentary. Robbie and Gosling are perfect fits for Barbie and Ken who manage to captivate and convey Gerwig’s astute themes with gusto. Jump in that pink convertible and go along with the ride, for Barbie is the 2023 comedy to beat.