Life in Barbie Land, the utopian pink paradise that serves as the residence for life-size versions of every Barbie doll ever created, is an unending celebration. Each day, Margot Robbie’s portrayal of Barbie begins by waking up in her dream house, spending the entire day at the beach surrounded by other Barbies and numerous adoring Kens, and culminates in an intricately choreographed girls’ night. It is a life filled with predetermined happiness, a meticulously managed world where nothing can go awry, and Barbie’s flawlessly arched heels must never touch the ground. This context makes it particularly amusing when, in the midst of a dance routine, she brazenly questions, “Have you ever thought about mortality?” Cue the record scratch.
This is where Greta Gerwig’s film Barbie takes off, embarking on a thrilling adventure that simultaneously mocks the political limitations of America’s most renowned doll while providing her with a credible hero’s journey. Balancing meta humor with a generous dose of motivational sincerity is no small feat, but Barbie is a delightfully charming triumph. It presents a tale of self-improvement for a plastic idol whose purpose is to remain unchanged, always embodying the epitome of perfection. In line with Gerwig’s previous successful movies, such as Lady Bird and Little Women, Barbie cleverly explores the daunting challenge of existing as a woman in society, adorned with vibrant Day-Glo outfits.
At first glance, Barbie appears to follow the familiar formula of brand-focused films like The Lego Movie and Sonic the Hedgehog. In these movies, a character from a branded universe accidentally ventures into the real world, stumbling through and grappling with the disillusionment of reality. Similarly, Robbie’s Barbie (officially known as Stereotypical Barbie to differentiate herself from career-oriented Barbies such as Doctor or President) is confronted with existential angst, triggering a series of dramatic events that necessitate a quest in the real world to discover her true problem.
Ken, Barbie’s beloved companion portrayed by Ryan Gosling, accompanies her on this journey, partly as a support system and partly because his sole purpose is to be near her. While Barbie is the central figure around which Barbie Land revolves, Ken is devoid of purpose, continuously asserting that his only job is to be at the beach—without the specific role of a lifeguard or even a swimmer. He is simply Beach Ken, perpetually stationed on the sandy shoreline, a fixed smile adorning his face. Gosling’s performance amusingly highlights the shallow yet profound despair of an action figure lacking purpose, reminiscent of a psychological drama from Toy Story come to life (though Barbie clarifies that she and her friends have featureless bumps where their genitals would typically be).
If you have any concerns about the logistics of Barbie Land’s coexistence with reality, they can be set aside. Gerwig and her frequent collaborator, Noah Baumbach, who co-wrote the film, pay little attention to the rules governing travel between universes. Suffice it to say that Barbie and Ken effortlessly move between these realms. What truly matters is Barbie’s transformative encounter with our world, wherein she faces two inescapable horrors: the realization that the lives of real women are far from the manicured, limitless dreams portrayed by Mattel’s products, and the existence of resentment from many real-life women who view her as a representation of an unattainable standard.
This self-referential gamble could easily backfire, given the extensive discussions surrounding Barbie’s limitations as a feminist icon since her introduction in 1959. Moreover, Gerwig faces the challenge of navigating her creative vision while working closely with Mattel, a potentially stifling collaborator. Yet, by placing Barbie on Earth and forcing her to confront her purpose, Gerwig manages to unearth genuine profundity. Without her stereotypical Barbie persona, Barbie becomes just another woman grappling with the quest for meaning in a world inherently hostile to her existence. Interestingly, her real-life counterpart manifests as Gloria, portrayed brilliantly by America Ferrera, a Mattel employee facing similar doubts about modern womanhood.
Meanwhile, Ken is exposed to a world that validates and supports him, or at least his attractive male physique, fueling him with a potent sense of empowerment. This intersection of Barbie‘s meta cleverness with the actual plot is where Gerwig truly shines. She astutely recognizes that, while a real-life Barbie would likely face skepticism and criticism, Ken is the ideal empty vessel waiting to be filled with meaningless concepts. However, Barbie avoids devolving into a simplistic battle of the sexes. Instead, it dissects the various ways in which self-perception is marketed to us, the weary yet willing consumers, as the world grows ever more astute and cynical. The film achieves this through vibrant musical numbers, biting wit, and a touch of sentimentality. Barbie is self-aware, yet it maintains an optimistic sparkle in its eye, envisioning a future where its protagonist transcends the projections imposed upon her. After all, no crisis is insurmountable when confronted with a lively dance party.
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