Review - Barbie
She’s having an existential crisis.
Directed by: Greta Gerwig
Written by: Greta Gerwig, Noah Baumbach
Starring: Margot Robbie, Ryan Gosling, Simu Liu, Issa Rae, Alexandra Shipp
Running Time: 113 minutes
Rating: 4/5
Where were you when Margot Robbie’s Letterboxd leaked?
Greta Gerwig’s much anticipated foray into blockbuster superstardom is lavish, hilarious and still, without a doubt, an indie darling at heart. A bamboozling mishmash of utter chaos, draped in pastel watercolors in a plastic paradise - Barbie is both the peak of existential crisis of humanity and a celebration of femininity and individualism.
I'll be the first to tell you - I did not believe that this film was happening. It's a fever dream of an ask - a full fledged film based on pop culture royalty - not a person, not an event, not a water cooler moment - a doll. Not just any doll, Barbie. Margot signs on. Greta signs on. Gosling. Then the set leaks. Then that teaser trailer. Talk about a risk, huh? Let's go back to Margot’s letterboxd list for a minute. Umbrellas of Cherbourg, Puberty Blues and The Truman Show? Chaos.
But it all makes sense now. There is much more than a life in plastic.
When we tear down that Stepford box frame of nostalgic glitz and pastel primary colours; Barbie glows as a satirical expose into gender conformity, identity, individualism and societal authenticity. Launched by Martell in 1959, the Barbie doll has stood the test of time, obviously in ebbs and flows of popularity and resurgence, she’s cemented herself as an icon, a historical landmark and the foundation of memories for generations past, present and future.
So what can a Barbie movie really be about? I'm not going to list controversial stereotypes that have plagued the brand and image for years, but it becomes apparent even in the opening sequence of the film that Gerwig & cowriter, Noah Baumbach, set out to explore. The Barbie doll has arguably been a centerpiece of feminine discourse throughout its run in history. From its arguments of body image, female stereotypes and/or complacency within patriarchy to even Mattel's attempts at social and cultural equality with different types of Barbie dolls in the market - no matter how you look at things, it is almost always about conglomerate commercialism. Is there money behind it all? Can we make money off the bare bones of plastic toys that culturally builds an image of female empowerment but also arguably restrains them into unrealistic expectations of who they are, how they should look like and what they can be?
Dreams are commercialized. Life is commercialized.
There's an emptiness behind the plastic veneer. It's a sad and disenchanting reality. Gerwig’s film tells the story of that very same disenchantment, the realization that perfection may not always last and the journey we forge to create a distinct identity. When Stereotypical Barbie loses her authentic magic in her life, she ventures out with Ken to the real world in an attempt to reconnect with her real life owner. Similar to Toy Story and Andy & Woody’s relationship.
It's a punch drunk cocktail of nostalgia, the yearning for youth and the celebration of femininity - dressed to the nines, pink & all.
Shot by Rodrigo Pietro, who also helms Killers of the Flower Moon later this year (!!!), Barbie is an outpouring rainbow of primary colour. The production design is immaculate; Barbieland feels like a direct reproduction of Barbie toy sets - from its Candyland-esque world to the fashion and sound design of each character - Gerwig crafts a world that is uncanny to sets from The Lego Movie to even The Truman Show. Pop Culture is also never not in the picture with a booming jukebox musical soundtrack curated by master producer Mark Ronson and led by powerhouse smash singles by Dua Lipa and Billie Eilish. The film feels specifically tailor fit for nostalgic millennials and the hyper-extravagance of the gen Z's.
This scene rivals Oppenheimer’s Trinity Test
Margot Robbie leads an exceptional ensemble that is decorated across the Barbies, Kens and humans of the world. From America Ferreira to Alexandra Shipp (who should be a bigger star, honestly) to a somewhat annoying Will Ferrell (who is channeling Buddy the Elf at his absolute worst) the cast is bountiful, expansive and fantastic. Robbie is magnetic, as always, a star shining in the glitz and glamour of pink and blonde. Doe-eyed and armed with a smile that christens perfection that is empathetic and shrouded in innocence and glee. Interestingly enough, while dazzling in her portrayal of Stereotypical Barbie; Robbie shines enigmatically in her scenes of silence and solitude. There's a sequence early in the film where she sits in a bus stop - watching the real world around her. The laughs. The arguments. The relationships. The fears. There is a sudden rush of emotion. There is more than a life of plastic. Robbie’s silence speaks volumes. A realization of what is, what could be, and what she may have missed..
For years I have prayed that Ryan Gosling would return to another role akin to Shane Black’s The Nice Guys. A solid, hilarious cop-caper in which Gosling's unhinged comedic timing steals every second. As Ken, Gosling relishes in the glory of chewing up every single absurd line of dialogue, direction, blocking and costume fits. Bustling with an undeniable “Kenergy”, Gosling steals every second of any scene he is in - Ken recognizes his path to patriarchy and how being just “Ken” isn't enough for him. Behind his washboard abs, bleached blonde undercut and jawline for miles, Ken holds a profound sadness behind the artificiality. He's more than just looks and being a sidekick. Ken isn't just a role for him. Ken is life - and there is more to life than he knows. Gosling is gunning for gold here. He's long overdue and frankly, I think it's wild that he may get the Oscar for something as audacious as Ken.
Even with all the praise, I will say that I'm not sure how this film will ultimately be received with the audiences. It's a clear big budget studio fantasy adventure film that really pushes the boundaries for silly, corny and even at times, exceptionally wild. But I can't think of the last time something this integral to pop culture steps out as bold piñata of flashy dance-offs, sing-alongs and endearing, hilarious performances. I can't really decide if this will land with belly laughs and rip-roaring applause or maximum cringe and recoil in the theatres. It definitely carries the heart of Gerwig’s indie sensibilities. There are moments of emotional weight that feel different from a studio blockbuster. There are transitions and montages that are both daring and very stylish. Gerwig almost makes it feel like she's betting it all on black pink. If this is the only big budget blockbuster she gets to make, she's made it with the heart and soul of the talented storyteller she is.
Greta Gerwig’s Barbie is a whimsical adventure that isn't afraid to get silly, corny and even downright bamboozling! It’s a punch drunk cocktail of nostalgia, the yearning for youth and the celebration of femininity - dressed to the nines, pink & all. A film that isn’t afraid to call out the patriarchy, the inequality and social dissonance among the women of the world, plastic perfection isn’t - and shouldn’t be - the most authentic reflection of one’s self, what more an entire community and gender. Barbie is a 70s disco roller party with a loudspeaker and a message. Hilarious, goofy and out-of-this-world, the film is a party that leaves you with a hangover for days.
Let's Go Barbie, Let's go Party!
