Barbie – A Subversive Masterpiece

If one goes into Barbie with an open mind, they will learn that there is so much more to the doll that has stood the test of time and has entertained generations of girls. Giving life and depth to something so inherently plastic and crafting a story out of it that can resonate with all audiences is certainly a challenge on paper but if there’s anyone that can do it, it’s Greta Gerwig and Noah Baumbach. For those looking to dismiss the film solely on the IP it is based on, it is merely a means to deliver some biting commentary on feminism, consumerism, the patriarchy, identity, and finding one’s place in the world. The way it goes about it is what is going to get the most attention, however. It is as ridiculous as it is colorful though underneath all that wackiness and camp, it has a surprising amount of emotion and heart. While each provide ample of entertainment, it is those latter lighter moments where the film truly shines and that is not only a testament to Gerwig and Baumbach’s script and Gerwig’s direction that find meaning across several tones and styles and the excellent performances from an all-star cast, led by Margot Robbie and Ryan Gosling as Barbie and Ken.

In the colorful Barbieland, Barbies and Kens lived in perfect harmony. Barbies were made to do anything and were only limit was the imagination of those playing with them therefore they were present in every aspect of the everyday life in Barbieland, occupying all the professions from president to physicist. Kens, on the other hand, lived simpler lives as what were essentially insecure and highly competitive boytoy accessories of Barbies. That was the way it always was and they were fine with it. Every day was a perfect day full of driving around in her pink convertible and saying hi to the other Barbies, musical dance parties, beaches, and girl nights until something somehow changed. Stereotypical Barbie (Robbie) was the star of Barbieland and the center of attention while Ken’s (Gosling) was an insecure dimwit whose existence depended on acknowledgement by Barbie because he was in love with her (a concept foreign to both of them) and that desperation led to plenty of ridiculousness. Breaking up that perfect harmony, the story took an existential turn as Barbie began to question her own existence and mortality. That was only the beginning for her as she continued to see more changes in her no longer perfect life.

Acting as a reflection of her owner, the answer for Barbie was to venture into the real world and find a way to reconnect with her to better understand what was happening. Fortunately (or not) for her, she wouldn’t have to do it alone as Ken, unbeknownst to Barbie, joined her on her journey. Shielded from the real-world, the contrast with Barbieland could be felt right away as their flashy rollerblading outfits stood out against legions of unsuspecting humans. Among many things, the gender dynamics in the real world were the exact opposite of Barbieland while the impact of Barbie and the feminist ideologies she represented had since waivered in the minds of girls and women over the years. That reality definitely made for a jarring experience for her but offering her some perspective was a deflated mother named Gloria (Ferrara) and her daughter Sasha (Ariana Greenblatt) who found themselves caught up in Barbie’s existential crisis. Learning the harsh truth of her existence and faced with real emotion for the first time, Barbie started to feel what it was like to be a real girl, anxiety and all. Ken had his own identity crisis as he witnessed what a world primarily run by men and of course got the wrong idea which he took back to Barbieland to indoctrinate the rest of the Kens.

Meanwhile, Barbie and Ken’s journey in the real world came with consequences as their arrival got the attention of Mattel and their CEO (Will Ferrell) who simply wanted to put her back in the box and be done with it. The comically evil empire made for a decent foil, satirizing the corporate machine that puts profits above all else, but they were basically a non-factor. That was only one example when it came to the film’s meta commentary and humor, most noteworthy, diving deep into the history of Barbie and trying to connect it to today. Using Helen Mirren as a narrator to offer some of that commentary was a nice touch thanks to some great line deliveries. Hilarious for the most part, some of it did not work as the film perhaps got a little carried away at times. For a film with not many flaws, this was arguably the biggest one.

As the dynamics of the real world and Barbieland became increasingly intertwined as a result of Ken’s misguided interpretation of the patriarchy, that previous perfect harmony was in jeopardy. With Kens seemingly in control and most Barbies brainwashed and subservient, it was up to Barbie, Gloria, Sasha, and the unaffected few who remained to free the other Barbies from the clutches of the Kens. All they needed was to help them get their agency back in fantastic fashion but with Barbie given a crash course on contemporary gender dynamics, it was clear that things could no longer be the way they were. In order to move forward, the Barbies would need to adapt. In what was a powerful sequence, they once again were galvanized as they turned the tables on the Kens. In the end, as much as this journey was about Barbie, it was also about Ken. Comically insecure and impressionable, he was often the butt of the joke. However, he also sought meaning and purpose in the same way as Barbie. Though he may not have always went about it the right way, it was still easy to relate to that in spite of everything else. As far as Barbie was concerned, her job was not over as she looked to continue to inspire the next generation of young girls.

On a technical level, the film is impressive to behold. Crafting such a vibrant and colorful world was certainly not an easy feat. From the production design, to the costume design, and the cinematography, they capture the sense of scale and spectacle of the larger-than-life world of Barbie. A look that feels like a throwback to the classic films of yesteryear with the sensibilities of today, Barbieland appeals to one’s sense of wonder. It and the characters may be wild and ridiculous but it is nonetheless entertaining to watch. The real world had much of that same vision, with the chase through Mattel headquarters being one of the highlights. While it’s easy to want more from Barbieland, the real world aspect of the film helps to ground it with enough emotional beats to make it more impactful. Though those ridiculous moments are entertaining, it was those lighter moments where Barbie finds her humanity that the film was at its best.

Other than the writing and directing, the best part of Barbie was its excellent performances. All committing to an admittedly wacky premise that would have never worked on paper, they were a blast to watch. Boasting an all-star cast with too many names to name here, there were a few standouts. Ferrara was phenomenal as Gloria, an ally to Barbie in the real world and a woman crumbling under the pressures of being a woman in today’s day and age, however, tried to keep it all together for her daughter’s sake. Michael Cera was an absolute scene-stealer as Allan, a discontinued doll similar to Ken meant to be his friend but also the complete opposite. Bringing the right nervous energy to the table, he is sure to be a crowd favorite.

At the end of the day, Barbie was about Barbie and Ken and Robbie and Gosling both deliver knockout performances as the dolls. Getting to show off her range, Robbie has the comedic chops to pull off the required silliness and also the dramatic chops where she is ultimately the best as Barbie became overwhelmed with emotion following her breakthrough. Gosling is delightfully unhinged as Ken in the best way possible. Comically deranged, he fully buys in to the outrageous things that were asked of him and delivers his outrageous lines in such a hilarious way. To top it all off, his stellar chemistry with Robbie seals it.

Overall, Barbie is one of the biggest surprises of the year, not because of Gerwig and Baumbach but rather for what they do with it. Taking pre-existing IP, being dolls, and celebrating them and their cultural impact with an entertaining yet poignant story full of depth and nuance was nothing short of extraordinary. While its commentary may not necessarily always be subtle, it still provides one of the best film watching experiences of the year so far though as with everything, it won’t be for everyone.

still courtesy of Warner Bros. Pictures

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Keith Noakes

The EIC of the coincidentally-named keithlovesmovies.com. A Canadian who prefers to get out of the cold and into the warmth of a movie theatre.