Lifestyles in Barbie Land, the utopian crimson paradise that’s house to life-size variations of each Barbie doll that has ever existed, is one lengthy birthday celebration. Barbie (performed by way of Margot Robbie) wakes up in her dream space each morning, hangs on the seaside all day with the opposite Barbies and plenty of admiring Kens, then hosts a women’ night time that’s one lengthy choreographed dance series. This can be a lifetime of prescribed pleasure, a brand-managed universe the place not anything is ever allowed to head incorrect and Barbie’s completely arched heels are by no means allowed to the touch the ground. Which is what makes it specifically humorous when she, mid-dance, asks aloud, “Do you guys ever take into accounts loss of life?” File scratch.
So starts the motion of Greta Gerwig’s Barbie, a blockbuster journey that bakes a large Mattel-branded cake and tries to consume it too, poking amusing on the political obstacles of The us’s most renowned doll whilst additionally giving her a plausible hero’s adventure. Combining the meta jokiness with a heap of motivational sincerity isn’t any simple activity, however Barbie is an overly captivating good fortune, an odyssey of self-improvement for a plastic idol whose explanation why for being is to by no means alternate, to all the time be the similar absolute best excellent. As with Gerwig’s earlier two films—the wildly a success Girl Hen and Little Ladies—it’s a artful meditation at the nightmarish puzzle of merely seeking to exist as a girl in society, handiest with extra Day-Glo outfits.
To begin with, it kind of feels that Barbie shall be following a system set by way of different films about manufacturers, reminiscent of The Lego Film and Sonic the Hedgehog, the place a personality from the emblem international crosses some dimensional barrier into our personal, blunders round, and tries to reckon with the miserable mundanity of truth. As Robbie’s Barbie (her complete title is Stereotypical Barbie, to tell apart herself from the Barbies with jobs like Physician or President) is made to combat along with her existential angst thru a series of dramatic occasions, she is tasked with a quest to the true international to determine what’s incorrect along with her.
Barbie’s favourite Ken (Ryan Gosling) tags alongside, in part in beef up, in part as a result of his handiest serve as in lifestyles is to be close to her. While Barbie is the thing that Barbie Land revolves round, Ken is distinctly missing in function, again and again remarking that his process is designated merely as “Seashore”—now not lifeguard, now not even swimmer. He’s simply Seashore Ken, perpetually status at the sand in his board shorts, a grin frozen on his face. Gosling’s efficiency hilariously illuminates the shallow however intense anguish of the purposeless motion determine, a type of Toy Tale psychodrama given flesh and blood (although Barbie does make it transparent that she and all her buddies have handiest featureless bumps the place their genitals can be).
When you have even a tiny query in regards to the laws of Barbie Land and the way it coexists with our truth, please drop them. Gerwig, who co-wrote the movie along with her spouse and common collaborator, Noah Baumbach, isn’t too hung up at the laws of transit between universes—simply know that it’s in some way potential for Barbie and Ken to hop between environments conveniently. What’s extra an important is that, when confronted with our international, Barbie should take care of dual horrors: the belief that lifestyles for ladies isn’t the manicured, you-can-do-anything dream marketed by way of Mattel’s merchandise, and that many real-world ladies actually resent her for representing an inconceivable same old.
It will be really easy for this self-referential gambit to fall flat on its face: Barbie’s limits as an icon of feminism were broadly mentioned since her release, in 1959. Mattel’s deep involvement with the movie additionally turns out like an inventive sinkhole that’d be tough for Gerwig to triumph over, regardless of how arduous she strives to wink on the target market. However by way of hanging Barbie on our glum planet and forcing her to reckon along with her function, Gerwig does in some way dig up some genuine profundity. Take away Stereotypical Barbie from Barbie Land and plonk her into Los Angeles, and she or he’s simply some other girl suffering to seek out which means in a global that’s inherently opposed to her very presence. Her real-life avatar seems to be Gloria (a wonderful efficiency from The us Ferrera), a Mattel worker who’s racked with an identical doubts about Twenty first-century womanhood.
Ken, in the meantime, encounters a global that affirms and helps him (or a minimum of the hunky male frame he occupies), which fills him with a radioactive sense of empowerment. That is the place Barbie’s meta cleverness in truth intersects with genuine plot stakes: Gerwig neatly realizes that while a real-life Barbie would face handiest skepticism and critique, Ken is without equal empty vessel simply ready to be stuffed up with nonsense. However Barbie by no means descends into an affordable girls-versus-boys ultimate showdown; it simply reckons with the other ways self-image will get offered to us, the weary, prepared client, whilst the sector grows savvier and extra cynical. That it does so thru brilliant musical numbers, acidic quips, and the appropriate scoop of sentimentalism is all of the extra spectacular. Barbie is understanding, nevertheless it nonetheless has an positive twinkle in its eye about how its protagonist may transfer previous people’s projections of her. In any case, there’s no disaster that may’t be solved with a just right dance birthday celebration.