Ryan Gosling, left, as Ken and Margot Robbie as Barbie in “Barbie.” (Courtesy of Warner Bros. Pictures/TNS)
Much like its namesake, Greta Gerwig’s new blockbuster “Barbie” has difficulty staying confined to just one box.
“Barbie” follows so-called “stereotypical Barbie” (Margot Robbie) on a humorous yet sentimental journey to self-actualization. After cracks mysteriously appear in her picture-perfect life in plastic — flat feet, cellulite, unwelcome thoughts of death and more — Barbie must seek out her owner in the real world to set things right.
Unfortunately for Barbie, her brush with reality engenders extreme angst and confusion. The same cannot be said for her companion Ken (Ryan Gosling), who quickly discovers the concept of patriarchy and covertly implements it into Barbie Land.
Watching “Barbie” feels like biting into a hefty slice of layer cake, smothered in bubblegum pink frosting and dusted with edible glitter. Though there is an obvious sweetness at first taste, unexpected flavors subsequently emerge: a generous sprinkle of bitterness, an overpowering dash of doubt and a stinging pinch of existential dread.
The movie’s absurdist tone is established in its opening sequence, which sees young girls violently abandon their baby dolls after encountering a supersized variant of Robbie’s Barbie. Smoothly narrated by Helen Mirren, the segment functions as a creation myth for Gerwig’s take on the influential toy.
Considering Gerwig’s penchant for exploring Catholic theology via film — she made her solo directorial debut in 2017 with “Lady Bird,” an eccentric coming-of-age story set against the backdrop of a Catholic high school — it is reasonable to interpret Barbie Land as a gender-swapped Garden of Eden wherein Barbie is Adam and Ken is Eve.
By flipping Genesis’ script, Gerwig nudges audiences to consider how the holistic entity of Barbie both accepts and rejects traditional femininity. After all, Barbie has grown into quite the contradiction since her inception in 1959.
Depending on who is asked, Barbie’s identity varies dramatically; she can be a feminist and pop culture icon, bimbo, career woman, unrealistic beauty standard, role model or mere object. Embraced and rejected by modern society in equal measure, Barbie must undergo constant reinvention to remain appealing.
This all too familiar struggle is finally vocalized by Gloria (America Ferrera) — the ordinary woman responsible for Barbie’s initial misfortunes — when Barbie feels paralyzingly inadequate following Ken’s coup. She denounces the everyday pressure women face to be palatable, and Ferrera’s feverishly exasperated line delivery makes for a cathartic monologue.
“I’m just so tired of watching myself and every single other woman tie herself into knots so that people will like us,” Gloria says. “And if all of that is also true for a doll just representing women, then I don’t even know.”
Gerwig also allegorizes Barbie’s dollhood with real-life girlhood, making her eventual choice to become human more impactful. Her transition into womanhood is marked by a dreamlike — albeit brief — montage of home videos, all of which feature extraordinarily ordinary women simply existing. In such an exaggerated film, this scene’s understatedness shines.
If anything, “Barbie” may have been too maximalist when it came to its messages. Because so many theme ideas are at play — patriarchy’s lose-lose nature, motherhood vs. daughterhood, losing one’s identity while in a relationship, grappling with mortality — some inevitably get fleshed out more than others.
Though the movie’s plot can feel crowded at times, its lead actors never fail to entertain. Robbie and Gosling play off each other brilliantly, and the latter’s comedic chops ensure he is an utter scene-stealer.
All cast members brought a distinct flair to Barbie Land, ensuring the world felt simultaneously fresh and nostalgic. Costume designer Jacqueline Durran only added to the sheer fun of it all, creating a host of inspired looks. Every piece of clothing seen on screen, from Barbie’s disco-esque sequin jumpsuit to Ken’s “I am Kenough” sherpa hoodie, left an indelible impression.
If “Barbie” is indeed a layer cake, people are certainly hungry for more. With talks of an emergent Mattel Cinematic Universe, their craving could very well be satisfied in the future.
To that possibility, this critic says bon appétit.
Rating: 4/5
