As the sun rises up over a towering Margo Robbie, dressed as classic Barbie in her black and white striped swimsuit, with the 2001 Space Oddysey theme ascending to its inevitable crescendo, we know Gerwig is acknowledging not just the legacy of film history but also the power and ubiquitousness of Barbie herself in our culture. After all for better or worse Barbie is an icon, and to capture the icon in all its complexities, especially with a Mattel produced film, is no small feat. So Gerwig appears to throw the gauntlet right at the start by getting in front of this mystique. Having Helen Mirren narrate these opening scenes only continues to add to the gravitas of the moment, but very quickly Gerwig pivots to her real point – to assess Barbie’s role in our culture from past to present, and to both reexamine and in many ways reclaim Barbie’s status, all while examining the world that created Barbie and its own complexities.
This may sound a bit heady, and certainly there are times where the subtext is outright text; however, Gerwig knows to start she has to tread lightly. The film therefore quickly pivots to the all-too-perfect world of Barbie, and its delightful eccentricities. We see Margot Robbie’s Stereotypical Barbie going about her perfect day, along with a host of other Barbies, and we see nearly as many Kens, with only Ryan Gosling’s Ken standing apart, a little glum perhaps, as he tries to catch Robbie’s Barbie’s attention. After some humorous sequences, including Ken and Ken’s innuendo about ‘beaching’ each other off, and Barbie’s non-shower, non-tea, morning, an existential crisis interferes with not just Barbie’s day, but also the harmony of the world.
Margot Robbie and Ryan Gosling in Barbie
From there Gerwig takes us on a trip beyond the world of fantasy Barbie, as she weaves in stories of self-discovery, the patriarchy, and those nagging existential questions that make us all human. Though many will appreciate the first half of the film perhaps the most, especially the fish out of water gags, for me its this second half that not only is ultimately the point but also the most satisfying, and funny, to watch. Not only do we have an incredible speech from America Ferrera, a true delight in this film whose giving the most overt expression of Gerwig’s vision in that monologue, but we also have incredible dance moves and singing by Ryan Gosling, proving why he earned this role. We even have answers about Allen – who I won’t go into to limit spoilers, but is easily one of my favorite parts of the whole film.
My only significant complaint is the runtime feels a bit long, and though I imagine some may find this film preachy and chop from the end, I’d simply speed up the start. Even the humor feels too surface-level at the onset, and this film really starts firing on all cylinders once our characters reach their greatest crisis points. So in my opinion speed up the introduction, sharpen the initial jokes, and job done. Otherwise the needle drops, the acting, including wonderful work by Kate McKinnon, Simiu Liu, Michael Cera, and others, are all stand out. So overall it gels together on a level that frankly is better than I even expected, even with just the small big of lag.
Fortunately I can say then that Barbie’s status as one of the most anticipated films of the year, even with some qualms, has still been rightly earned. To weave a narrative questioning consumerism and beauty standards, while telling a story all about consumerism, and using classically beautiful leads, and pull it off is a feat. Fortunately for those who’ve yet to see the film, I feel strongly in saying its a feat that was accomplished and then some.
