1/5
Barbie (Margot Robbie) meets teenage cynics. Photo courtesy of Warner Bros. Pictures
LOS ANGELES, July 18 (UPI) — Director Greta Gerwig takes on the challenge of making a movie about Barbie and delivers a poignant statement in the process. The film, set to release on Friday, utilizes the very concept of Barbie to provoke thought and reflection.
An introspective narrator played by Helen Mirren describes Barbie Land as a world inhabited by Barbie dolls, which mirror the fantasies of the children playing with them in the real world. The Barbies embody a sense of empowerment, believing that their positive messages have solved feminism in reality.
However, Barbie (Margot Robbie) questions her own mortality, disrupting the idealistic world of Barbie Land. Faced with real-world thoughts intruding into her perfect life, she embarks on a journey to meet the person playing with her, with Ken (Ryan Gosling) accompanying her.
This unique take on growing up, as seen through the eyes of the doll itself, bears resemblance to films like Toy Story and The Lego Movie. However, Barbie adds a layer of complexity by addressing broader societal issues affecting women.
As Barbie and Ken arrive in real-world Los Angeles, they encounter toxic behavior. Barbie experiences objectification from strangers, while Ken revels in the attention, appreciating the protection provided by the power dynamic.
Ken also realizes that he benefits from the patriarchy, as he comes from a fictional world where men are placed secondary. Meanwhile, Barbie discovers that even teenage girls no longer embrace her due to her representation of impossible beauty standards and capitalism.
The FBI notifies Mattel about the escape from Barbie Land. While the mechanics of how these worlds collide are less important, the film sparks meaningful commentary and leaves it open to interpretation whether Barbie Land is an alternate universe or entirely imaginary.
Mattel headquarters is depicted as a childlike fantasy world, where a boardroom of men decide what to sell to girls. The apparently empowering dolls created by Mattel serve as mere accessories and gimmicks.
Barbie encounters Gloria (America Ferrera), a Mattel employee who helps restore balance to Barbie Land and make a positive impact on the real world. The film promotes the idea that even small improvements can lead to a better world, rather than striving for an unattainable ideal.
Furthermore, the film defends Barbie, acknowledging the unrealistic expectations placed on her as a $15 piece of plastic, which needs to cater to the diverse needs of all women.
The fact that Greta Gerwig secured corporate approval from Mattel and Warner Bros. for this script, which she co-wrote with Noah Baumbach, is truly remarkable. It demonstrates her exceptional negotiation skills, in addition to her talent as a director.
Barbie presents a distinct perspective and aesthetic. The production design creates a full-size pink world that resembles Barbie Land. Mirrors have no glass, and showers have no water, staying true to the concept of Barbie dollhouses.
The film goes beyond generic storytelling, committing to a stylized environment rarely seen in so-called original movies. The intentional artificiality of the sets, constructed rather than relying on digital backdrops, adds to the authenticity of the doll-like world.
The actors fully embrace the nature of a doll being played with by a child, immersing themselves in the absurdity of this world where the beach and dream house hold utmost importance.
Notably, the film showcases a diverse Barbie Land, featuring Black people, Asian people, and individuals using wheelchairs as Barbies and Kens. Collectors will appreciate the references to various obscure Barbie varieties.
These are ambitious concepts for any movie, especially one centered around a children’s toy. Kudos to Gerwig for seamlessly incorporating them into a summer studio film.
Fred Topel, an entertainment writer for UPI based in Los Angeles, is a professional film critic since 1999. He is a member of the Critics Choice Association and the Television Critics Association. Read more of his work in Entertainment.
