Gerwig’s creative prowess shines through in her approach to making the film “Barbie” both authentic and artificial. She sought inspiration from various sources, such as Peter Weir, the director of “The Truman Show,” to achieve a balance between artificiality and emotion. Musical influences like “The Umbrellas of Cherbourg” and “Singin’ in the Rain” guided her in creating a similar effect. The special effects in the film were based on analog techniques from 1959, the year Barbie was introduced, giving the movie a nostalgic touch. The stunning mermaid Barbies, seen frolicking amid Jeff Koons-esque plastic waves, were manipulated using a seesaw-like rig. The captivating blue sky towering above Barbieland was not a green screen but a meticulously painted backdrop.
“Barbie” marks a significant milestone for Gerwig, with a larger scale, budget, and potential audience compared to her previous works. This expansion is intentional, as she continuously evolves as a filmmaker. However, Gerwig remains committed to exploring characters’ journeys into adulthood, a theme she has expertly explored in films like “Frances Ha” and “Mistress America,” collaborations with Baumbach. Even her directorial debuts, “Lady Bird” and “Little Women,” delved into the coming-of-age experiences, drawing inspiration from her own upbringing in Sacramento and her beloved childhood book.
Ultimately, “Barbie” also follows the coming-of-age narrative, albeit with a twist. Instead of a human protagonist, the figure experiencing growth is a fully-formed plastic doll. “Little Women” or even “Mothers & Daughters” could have served as alternate titles for the film, highlighting the matriarchal nature of personal growth explored in all three movies. Growing up, for Barbie, as well as the characters in Gerwig’s other films, is a journey shared with mothers, sisters, and female figures woven into the fabric of their lives.
The genesis of the iconic Barbie doll traces back to Ruth Handler, who observed her daughter, Barbara, playing with paper dolls. As they adorned the cutouts in various outfits, the imagination ran wild with potential careers and personas. Ruth, an empowered woman herself, recognized the dearth of three-dimensional dolls that allowed girls to explore adulthood, with most focusing on nurturing motherhood. As the Handlers already operated Mattel, a toy company they established in their California garage in 1945, Ruth took it upon herself to propose this revolutionary doll. While in Switzerland, she stumbled upon the Bild Lilli, a novelty toy based on a provocative blond character from a West German comic strip. Though initially met with skepticism from manufacturers, retailers, and even Mattel, Ruth’s marketing consultant suggested that mothers could overlook Barbie’s alluring figure if they believed she instilled proper behavior and upheld traditional femininity.
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