In writer-director Greta Gerwig’s creative reimagining of Mattel’s most infamous toy, she presents an exuberant and vibrant blend of influences, reminiscent of Pixar’s Toy Story 2, Carlo Collodi’s Pinocchio, the cult live-action feature Josie and the Pussycats, and the Roger Ebert-scripted exploitation romp Beyond the Valley of the Dolls. This delightful cinematic creation unfolds as a candy-colored feminist fable, skillfully celebrating, satirizing, and deconstructing the world of happy-plastic Barbie. Audiences will be thoroughly entertained, while Mattel should be thrilled with the outcome.
The film begins with a heavily anticipated 2001-parody opening before transporting us to Barbieland, a pastel pink utopia where it is humorously claimed that Barbie has resolved all issues of feminism and equal rights. In this fantasy realm, the big-haired dolls can assume any profession, from lawyers and doctors to physicists and presidents, thereby serving as inspiration for real-world feminine achievement. The message playfully proclaims, “We’ve fixed everything, so all women in the real world are now happy and powerful!”
If it weren’t for Margot Robbie’s presence, this daring and audacious endeavor might have easily stumbled and failed.
In this whimsical rendition reminiscent of the surreal “Being John Malkovich,” every character embodies Barbie, with the exception of the male counterparts who are simply Ken or Allan, portrayed by the hapless Michael Cera. At the heart of this self-referential fantasy is Margot Robbie’s flawless performance as “Stereotypical Barbie,” a role so fitting that even when Helen Mirren’s narrator makes a sardonic remark about the casting, it is all taken in stride. However, the usually cheerful protagonist is taken aback when feelings of sadness, anxiety, and mortality begin to haunt her. To make matters worse, she acquires flat feet and even (whisper it!) cellulite, which are seen as harbingers of the Barbie apocalypse.
A chance encounter with Kate McKinnon’s “Weird Barbie” (a Barbie who was “played with too hard”) reveals the existence of a wormhole connecting this world to the afterlife. Following in the footsteps of Amy Adams in “Enchanted,” our fairytale heroine embarks on a journey to reality, accompanied by Stowaway Ken (Ryan Gosling). Along the way, Stowaway Ken stumbles upon a world dominated by The Patriarchy, where men (and even horses) are in control!
Meanwhile, at the headquarters of Mattel, Will Ferrell reprises his role from the Lego Movie as the stern adult crushing innocent dreams, demanding that Barbie return to her confined box. However, Barbie has encountered gothy teen Sasha (Ariana Greenblatt), who candidly expresses how Barbie has perpetuated negative feelings in women since her inception, going so far as to label her a “fascist” and a setback to the feminist movement, setting off a dystopian world where women feel objectified, and resentment abounds.
Greta Gerwig’s deceptively upbeat blockbuster carries a rebellious spirit reminiscent of Todd Haynes’s 1988 cult classic, Superstar: The Karen Carpenter Story. Although Gerwig’s movie is far more accessible to a wider audience, it subtly transforms the specter of unrealistic expectations into a liberating parable of embracing individuality in all its forms, whether it aligns with Ken and The Patriarchy’s ideals or not.
The film is peppered with clever references to pop culture, from The Matrix’s red pill to Citizen Kane’s snow globe, and fanboyish emotional investment in Zack Snyder’s Justice League director’s cut. Remarkably, Barbie remains thoroughly inclusive, appealing to both younger fans who grew up on animated Barbie classics and seasoned critics seeking intelligent film allusions. Gerwig, along with co-writer Noah Baumbach, presents a smart script that reminds us of Mattel’s history of reinventing their products, including models that faced backlash from consumers and retailers, leading to their hasty discontinuation.
The movie culminates in a spirited dismantling of male power, enlivened by Ryan Gosling’s delightfully vapid apex-Ken performance, and carried effortlessly by Margot Robbie, without whom this daring venture could have faltered. A touching cameo by Rhea Perlman as the mastermind behind the madness adds heartfelt pathos. Yet, it’s Robbie and Gerwig, along with the creative team and songwriters, who infuse this film with effervescence, ensuring that everything feels extraordinary, even when it isn’t.
