Barbie: A Big, Bold Blockbuster With More Than Kenough Comedy
To live in Barbie Land is to be a perfect being in a perfect place. Unless you have a full-on existential crisis. Or you're a Ken.
Barbie contemplates death and what she was made for in Greta Gerwig’s tremendously inspired and spirited third feature. In a year dominated by brand biopics, Barbie redefines what a film centered around a commercial product can be as it carefully peels back the plastic surface to excavate a surprising amount of heart and spirituality. With a wide array of themes, including “sexualized capitalism,” existentialism, identity, idealism, and sexism, this riotous and deeply funny meta-comedy has a bold and ambitious reach, and it never comes up empty, effortlessly transforming pop culture into resplendent high art. Gerwig even brings along her real-life “and Ken,” Noah Baumbach, who co-wrote and co-produced the film alongside her, and she aligns herself with top-tier talent in all departments to deliver the summer’s most surprisingly deep and stupid-fun blockbuster.
With a brilliant conceit, beginning with its 2001 parody open and coursing all the way through its final punchline, Gerwig and company force the fantasy of Barbie Land to face reality, good and bad, constructing an idealized Dream House that descends into cellulite nightmares and newfound depression, all while triumphantly building and transforming its subject into something startlingly human. Even though Mattel poses as the heel, this is a film without traditional villains; in Barbie, the “bad guys” are ideas, like capitalism, patriarchy, and the disillusionment that they bring, which the film posits can be overcome and maybe even fixed through awareness and compassion. It shakes you awake in an extremely fun way and shines a spotlight on all the areas we need to improve on as a society so that Barbie’s Dream House can be our Dream House. Its self-awareness gives the narrative layers of comedy and meaning, and the film ultimately asks its characters and audience to re-examine themselves and who they are beyond the shallow and superficial. It’s not just a female empowerment romp that wants to make all women feel seen, it’s about celebrating who we all are (regardless of gender or sexuality), and more importantly, that we are all “Kenough.”
Barbie dolls may come in boxes, but Gerwig’s smart and sumptuous imagining is a rare breed of film that defies easy categorization, which it achieves through its vivid self-awareness, both as a commercial product and as a piece of artistic expression. It gracefully moves between absurdity and silliness to pointed and heartfelt lucidity, blending old Hollywood aesthetics with candy-colored couture and pop-art chic, molding Gerwig’s esoteric influences into a singular and moving vision. There’s overt nods to The Matrix and The Godfather, and notes of The Wizard Of Oz, The Red Shoes, Pinocchio, Heaven Can Wait, Legally Blonde, Zoolander, Josie And The Pussycats, and more. But oddly enough, its best described as a screwball comedy version of Jordorowsky’s The Holy Mountain, which encapsulates its fast-talking repartee, female-dominated courtship, and its overall sense of self-awareness and spirituality. Which how freaking cool is that? Who the heck would have thought a movie about Barbie dolls could be this all-encompassing, hilarious, and touching?!
Margot Robbie is literally perfect as the “stereotypical Barbie” — so perfect her perfection becomes a meta-punchline. She has been incredible in every role we’ve ever seen her in, and this will doubtlessly be a role she’ll always be remembered for. As much as Barbie is her movie, and one that showcases her stunning radiance and performative talent, it’s Ryan Gosling who steals the movie out from under her. He sings, he dances, he flexes his underrated comedic ability, and he’s having so much fun that it’s impossible to not be downright charmed by his portrayal of “stereotypical Ken.” The two of them combined make an incredible team, which is further bolstered by the film’s excellent ensemble cast, with supporting standouts in Kate McKinnon, Issa Rae, America Ferrera, Michael Cera, and Will Ferrell.
When it’s all said and done, you can certainly feel the “Kenergy” and will be left smiling and inspired. Gerwig and her “and Ken” Baumbach are smart enough to know that you need both waterworks and sunshine to make a rainbow, and they embrace the artificial to deliver something sincere and original. Barbie playfully invites you to think about dying with the express purpose of discovering what being alive is all about, and it’s easily one of the year’s best offerings. Don’t question it, just roll with it — and don’t forget to bring your rollerblades!
Recommendation: Absolutely check this one if you haven’t already — and then to see it again!
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