Greta Gerwig’s genius shines in “Barbie,” her third film as a solo director. An expert understanding of Barbie and the doll’s effect on culture coupled with a talented star-studded cast deliver a complex, witty and existential film about self-acceptance and individuality that broke box office records in its opening weekend.
It is revealed that Gloria was behind the changes in Barbie. Overwhelmed with negative thoughts about herself, she took her frustration out by drawing her daughter’s childhood Barbie with various human afflictions — irrepressible thoughts of death Barbie, cellulite Barbie and flat-footed Barbie. These drawings are the catalyst of Barbie’s own existential crisis as she begins to lose her perfection.
There is none better than Gerwig to create a film that masterfully portrays the most iconic doll in history while simultaneously sending the perfect figurine through a spiral as she uncovers the harsh reality of womanhood in the human world.
Rumors of a potential Barbie film began back in 2009 and delays befell the film multiple times over a decade and the initial script idea was tossed out. Margot Robbie closed a deal with Mattel to co-produce the movie in 2018. A year later, there were rumblings that the film would never be made, but Barbie’s luck began to turn when Gerwig joined her long-term partner and fellow director, Noah Bauchman, to co-write a new screenplay in July 2019. She joined the film as its director in July 2021.
The trials over the past decade in attempts to create this film were not for naught — it had to fall into the hands of the filmmaker with the Midas touch.
Robbie is phenomenal as Barbie. Attempting to imagine another in this role is inconceivable after witnessing her deliver a masterclass in acting. She stuns as the titular doll, the Barbie millions of minds picture when the Mattel name is uttered. Barbie is perfect — she is smart, beautiful, kind and talented. Her resume is never-ending: astronaut, doctor, judge, mermaid, ballerina and student are all easily obtainable to her through imagination and a quick outfit change. She is a triumph of feminism, inspiring girls everywhere to chase their dreams. Robbie’s Barbie makes a point to declare how much she loves women. Everything the Barbies do is for the girls and women of the real world.
President Barbie, played by Issa Rae, stole the show every time she was on screen with her witty remarks. Rae is equally captivating and hilarious as the leader of the female utopia.
Barbieland is a matriarchal society housing countless Barbies, Kens, one Allan and some discontinued dolls. They believe their creation forged a better world for the women of reality. Before Barbie, girls played with baby dolls. She was the first mass-produced doll with adult features, allowing girls to imagine themselves as anything other than homemakers.
The film follows Stereotypical Barbie’s (played by Robbie) journey to find the child that is playing with her. Random irrepressible thoughts of death, flat feet and cellulite on her thigh send Barbie’s world askew; she is becoming un-perfect. She is met with horror from her fellow Barbies, and they direct her to Weird Barbie — a doll that has been roughly played with, sports marker on her face and a jagged cut hair — played by Saturday Night Live alum Kate McKinnon.
Barbie and Ken embark on a plastic rollercoaster of different vessels to reach Los Angeles to find the girl that is playing with Barbie and making her imperfect. The bright, plastic sets perfectly imitate what so many remember from their own childhoods.
Ariana Greenblatt proves to be a force. At just 15 years old, her expansive career is about to take off following a successful run in several big production films. She plays Sasha, a moody preteen who hates Barbie and her mother Gloria’s (America Ferrera) affection. Sasha delivers a tear-inducing blow to Barbie, attacking her and what she says she truly represents in America.
Sasha’s character is another way Gerwig speaks to the complexities of girlhood. It is upsetting to watch her reject her mother’s touch or compliments. When Gloria and Sasha save Barbie from being trapped in a box, Sasha delivers one of the most memorable lines of the film. “Women hate women. And men hate women. It’s the only thing we all agree on.”
As soon as she rollerbladed into reality, Barbie was ogled, groped and verbally harassed.
It is revealed that Gloria was behind the changes in Barbie. Overwhelmed with negative thoughts about herself, she took her frustration out by drawing her daughter’s childhood Barbie with various human afflictions — irrepressible thoughts of Death Barbie, Cellulite Barbie and Flat-footed Barbie. These drawings are the catalyst of Barbie’s own existential crisis as she begins to lose her perfection.
Ryan Gosling’s Ken produces handfuls of laugh-out-loud moments. The Kens of the film are desperately obsessed with their corresponding doll partner. Gosling’s Ken struggles to gain the eye of his admiration as Barbie rejects his humorous advances for kisses or time together. The full scene from the film’s first trailer shows Ken trying to stay the night at Barbie’s Dreamhouse. The theater audience roared with laughter as Ken attempts to woo Barbie with a smoldering look and she naively rejects his advances.
Ken does not know who he is, same as Barbie. He does not fit into his box and role as Barbie’s boyfriend because his Barbie does not love him. He easily falls into the trap of male-supremacy after his short visit to the real world where he sees how men are treated there. His original song, “I’m Just Ken,” gives insight into his inability to cope with Barbie’s rejection. The emotional power ballad couples with a choreographed “Grease”-style dance he performs with the other Kens.
Coming to terms with his own identity, or lack thereof, halts the Ken-on-Ken war on the beach. Ken’s pathetic yet comical attempts at gaining Barbie’s love and rapid spiral into patriarchy are elevated by an air of unwavering confidence (Kenfidence?).
As the story unfolds, Gloria delivers a powerful and painfully relatable monologue critiquing the finite existence of women. Barbie is in distress after returning to Barbieland, which is now covered with horse décor, golf clubs, miniature fridges, television screens and beer bottles as Ken introduces patriarchy to Barbieland. Scantily clad Barbie dolls dote on their corresponding Kens, brainwashed by Ken’s male-supremacy logic.
As uncomfortable and upsetting it is to watch Barbieland fall victim to the patriarchy, it is equally uncomfortable and upsetting to see how quickly everything fell into place for Ken when he discovered a desire for the patriarchy. The patriarchy was just a means to an end for Ken — he uses it to cope with his own dilemma, thinking it will make his life make sense.
Michael Cera is scene-stealing as Allan and one of the most memorable parts of the film with limited screen time. Cera is the only actor imaginable that could portray the awkward outcast. His team-up with the girl squad to save Barbieland from patriarchy is a satisfying twist in Allan’s character as he is famously remembered as a forgotten doll of Mattel.
Other discontinued dolls appeared in the film too. Weird Barbie’s house is home to many of the discontinued dolls featured in the film. Barbie’s dog Tanner, Earring Magic Ken, Sugar Daddy Ken, Teen Talk Barbie and Growing Up Skipper all make quick cameos in the film. The controversial and discontinued Pregnant Midge doll also makes a cameo.
Poking fun at some of Mattel’s past doll choices highlights the way the company folds to customers’ demands at the drop of a hat, as seen multiple times in the film, whether the doll hate was warranted or not.
An unexpected cameo comes from Barbara Handler, daughter of Mattel co-founder and Barbie inventor Ruth Handle. It’s an emotional moment when Barbie recognizes beauty in an imperfect world.
The Mattel magic comes alive in the costume design, set design and editing. Sparkles light up the screen, displaying the magic of the dolls coming to life when they are played with. The costumes could not be more perfect — they look ripped right off a doll.
It is not a Gerwig film if there is no turmoil between a mother and daughter. Devising a foolproof plan to revert Barbieland to a utopia and saving Barbie from an identity crisis is an important moment between Gloria and Sasha. It was a refreshing portrayal of motherhood. She is not villainized as an unloving mother, but rather the strongest force of the film. Her wisdom and strength empower the Barbies to wake up from the brainwashed stupor.
The film does not take the road many might assume when it comes to motherhood. Gloria speaks to the expectations of women, the limits and pressures of trying to exist. Trying to live up to these expectations is what causes problems with identity and self-acceptance. She presents an idea for a different Barbie doll. The message is clear — you can be anything, but you can also be nothing extraordinary and that does not diminish your value.
Ruth Handler is portrayed by Rhea Pearlman. An intimate moment between Handler and Barbie occurs over a cup of tea while Barbie escapes from the Mattel headquarters. Later, she helps Barbie, holding her hands as an emotional montage of women and young girls’ happy life moments flash behind her eyes. The audience is stunned by the beautiful moment when the faultless doll chooses her own future.
The cathartic film speaks to the burdens of women, both in self-expression and the expectation to hold their feelings in. It is unexpected to leave a movie about Barbie with an aching heart and a sore stomach from belly laughing, but Gerwig somehow delivers a powerfully poignant comedy/drama film.
It would be surprising if this film were not considered Oscar-worthy. Barbie is the most charismatic film of 2023. Supported by the viral press tour and internet phenomenon of “Barbenheimer,” the name for the simultaneous theatrical release of Barbie and “Oppenheimer,” about the man considered the father of the Atomic bomb, Barbie holds its own as a magnetic dissection of identity and society.
Rated PG-13. Running time 1 hour 54 minutes.
By JOELLE CARR/For the Sentinel
