In July last year all Mattel broke loose. Of course we had months of lead ups, including trailers that suggested that the film would be plastic, ironic and more FUN than a dream vacation. But I think it is safe to say few of us really knew what we were in for. We would soon discover that director Greta Gerwig was to deliver up a film with a dress-up doll that was profound, silly, moving, smart, existential and, using Ken’s word, Sublime!
Similarly to the Lego Movie from 2014, Gerwig and writing partner Noah Baumbach gave vision to a mass-produced toy with an ironic but affectionate tone. You will fine well-observed takes on bemused limited editions such as Earring Magic Ken, Pregnant Midge and Tanner the Pooping Dog. On tap also are the oversimplification of arguments for and against Barbie’s female representation, as well as Ken’s literal and figurative eunuch status. The movie also dispenses snarky observations about the patriarchy with Helen Mirren’s voiceover. All of this you know from the trailer.
So the set-up: sees Barbie ( played by Margot Robbie, a 2D character becoming fully 3D ) traveling from her Dreamhouse to the real world in an attempt to stop her perfect, unquestioning existence from fracturing. Lovesick Ken ( portrayed by Ryan Gosling ) is along for the journey. But once through the looking glass, the playthings find a horrifying reversal of Barbieland in this realm: a universe where men rule ( especially, as Ken notes, those on horses ) and female empowerment can literally be boxed with ‘sparkles’. I felt this section of the film was a bit too slippery to get a complete handle on. Certainly, the jokes are fun but not a knockout and the narrative is fairly predictable.
Then Gerwig turns the dial. We get the arrival of harassed mum Gloria ( America Ferrera ) and Barbie ultimately becomes a hoot, a sophisticated satire, an emotional one-two punch that hits all genders where it hurts with its themes: including the loss of childhood, the stretching of the delicate thread between mothers and their children, and the messiness of being human. Viewer beware: a montage cut to Billie Eilish’s breathy vocals will demand tears and a post-viewing call to a parent.
Barbie shines when verbalizing the battle of the sexes. Gloria’s rage-filled monologue recounting all the ways that women can fail is excruciatingly sharp. Weird Barbie ( Kate McKinnon ) has been played with too hard and the Kens going to beach battle all play into this struggle. Barbie also connects on exploring ideas of connections, community and finding self-worth.
The film also finds excellence when Gosling is on screen. Portrayed with insane abs and a Stallone fixation, his Ken gets a good extent of the best gags, definitely the best song, and an emotional arc as strong as Barbie’s. It might feel strange to enjoy his performance this much in a movie designed to celebrate women. But there is just so much fun packed into his character. In the third act, Gerwig puts her scattered cinematic toys back into the Dreamhouse along with ghosts, cameos, film references and boy-band choreography and all for a universal empowering finale that salutes the potential of an individual.
If you have not taken the time to see this wonderful film, I hope you will do so. And let me know what you think.
My Verdict: Barbie gets a A Cute Film Addictive Rating of 7.5/10
Lee Pittman – June 25, 2024
