It’s one of the most talked about films of the year, with one of the most overstated, semi-genius, if suffocating, campaigns behind it. The question on everyone’s lips is whether or not Barbie will live up to the insurmountable hype that precedes it. The gleeful answer here, is yes.
Directed by Greta Gerwig and starring Margot Robbie as ‘Stereotypical Barbie’, the film takes place in the perfect heaven that is Barbie World, awash with pink, where Barbies – all called Barbie – are in control. Girls run the world, just as Beyonce said. They are lawyers, doctors, Nobel prize laureates, they perpetuate the idea that young girls can be anything they wish to be: and they’re living it. Meanwhile, Ken (Ryan Gosling), alongside all the others Kens – are merely at hand to support and adore their female counterparts, with little else of any important in their plastic lives.
However Barbie soon begins to feel a sense of existential dread, finding herself becoming more human, as she fears death – and even worse, cellulite. Visiting ‘Weird Barbie’ (Kate McKinnon) for clarity, she learns that the human who is playing with her, in the human world next door, is having profoundly sad thoughts, and it’s broken into the Barbie world, and needs to be fixed. So alongside Ken, the two dolls head to California to find the young girl, though it’s when they arrive, Ken soon realises something he’d never heard of before never-mind knew existed: the patriarchy. Barbie is terrified by what she sees in the real world, so far removed from the idealistic, feminist landscape that adorns her usual kingdom. Ken, on the other hand, is overjoyed.
Barbie works because it balances a myriad of themes, and succeeds – against all odds. It manages to be funny, and irreverent, but also self-deprecating, and profound. At times it’s important, it can be poignant, and it can absolutely downright ridiculous. Gerwig has excelled in simply being able to marry this all together and not have any of the supporting elements compromise the others, as they work in unison, in what is something of a triumph, tonally. That said, it can get a little overly sentimental in parts – not to mention the pointless breaking of the fourth wall narration by Helen Mirren, which doesn’t quite work.
The film, however, truly works best in the absolutely downright ridiculous moments, also know as, Ken. For a film that promotes such a strong, feminist message, with an empowering undercurrent throughout, it does feel a little wrong to say this, but Gosling’s Ken really is the best thing about the movie. But as the men are being satirised, in a playful manner, it puts the character of Ken at the forefront of the comedy, as his naïve outlook on the world is explored, and to great effect. It’s that ridicule that allows for so much space for laughter, and what transpires is a truly brilliant comedic performance from the actor. To quote the character himself, he’s “SUBLIME”.
It doesn’t detract from the film’s more relevant, and important aspect. The film, though produced by Mattel – the company who manufacture the Barbie doll – addresses historical criticisms and concerns of the doll, in how it perpetuates an idealistic, and unrealistic body image on young girls. Telling them they can be whatever they wish to be, with no margin for error. But this film, which to be honest feels like one long, and very expensive advertisement for Mattel – is seeking to rebrand the Barbie doll. This is the company’s way of saying “we’ve changed” and to feel more in line with a progressive, inclusive society that promotes freedom. Telling young girls that while they still can be anything they want to be, it’s also okay if you aren’t. It can be jarring at times, watching a film you know has ulterior motives (to sell more products!), and the self-awareness can be somewhat overbearing. But, it’s really fun, and we like fun.
Barbie is released on July 21st
