Margot Robbie is a confection of perfection as the iconic Barbie doll with wide-eyed innocence and confidence reflecting Director Greta Gerwig’s portrayal of her ideal world…until it isn’t. Who knew the iconic doll that had its share of backlash as an outdated symbol of young women would find herself in a story reminiscent of The Wizard of Oz meets Pinocchio. This time, instead of ruby slippers, Barbie loses her mojo when her plastic arches in spike heels fall and her new “flat feet” make her face the real world.
Writer/Director Greta Gerwig had a dream and ran with it, pulling in collaborator, co-writer and partner, Noah Bombach, much to his surprise. The script creates just the right images you don’t expect; comedy plus clever double entendre and innuendo about body parts. There are poignant scenes honoring older women including Oscar winning costume designer Ann Roth, a friend of Gerwig, and Ruth Handler, played by Rhea Perlman. Handler invented the doll for Mattel, which was co-owned by her husband and founder of the company, Elliott. And Helen Mirren is instantly recognizable off-screen as the straight forward narrator of this story. She was originally scripted to say an f-bomb, at the very beginning, right out of the Barbie box, but it was ultimately cut. But there is one bleeped late in the film delivered by another character.
Gerwig’s fear was that she wouldn’t get to direct it and that no studio was ever going to let her even make this movie. Who better to play the lead (also co-producer) than Margot Robbie who literally glows with happiness playing naive Barbie, comfortable in her pink Dream House in her super saturated pastel community surrounded by all her beautiful Barbie clones with their diverse skin tones and professions. Credit Production Designer Sarah Greenwood with the intricate detail and pink sets and the incredibly detailed wardrobe by Costume Designer Jacqueline Durran for suiting up these iconic characters. Cinematographer Rodrigo Prieto (Taylor Swift music videos, Argo, The Wolf of Wall Street) captures all of the fun choreography of the music indicative of the 70’s put in the film by Mark Ronson and Andrew Wyatt.
Ryan Gosling as blond and hunky Ken, is hilarious and the perfect foil for what Barbie will have to contend with as she navigates her past and new present. He is the beta male to Margot Robbie’s alpha female. He and all the Kens only exist to be Barbies’ helpers. Where Barbies get to be Presidents (Issa Rae) or Nobel prize winners, the Kens only get to be… Ken. As the swimsuit clad Malibu Ken, Gosling laments he has no idea what he does. Not even a lifeguard, he only knows his job is “Beach.” He sings and dances along with all the other Kens (Simu Liu, Kingsley Ben-Adir, Ncuti Gatwa and Scott Evans and even John Cena) for Barbie’s entertainment. When he invites himself for a sleepover, Barbie asks for what purpose, and he has no clue. Instead she invites him over for a big party with a glittery musical production number with great choreography.
The basis of Barbie Land is that the dolls have a connection with the children who play with the dolls. How the toys are treated is reflected in their existence. Right in the middle of the fun, there is a gasp-worthy moment. Barbie suddenly expresses some dark thoughts when she says “Do you guys ever think about dying?” The Barbies, concerned, prompt her to go to see Weird Barbie, Kate McKinnon, as the abused, disheveled, unkept, with ink streaks on her face, version of the toy.
Barbie is responding to the thoughts of anxiety, death and sadness in the real world portrayed by the conflicted relationship between a real-world mother and daughter, Gloria and Sasha (America Ferrara and Ariana Greenblatt) and their own relationship with the doll. Barbie is prompted by Weird Barbie to get a look for herself.
Gosling’s journey into that real-world shows him an alternate universe where men have the power. He has no understanding of the patriarchy, but thinks it has something to do with horses and embraces the chance to grab control and subjugate the Barbies. He’s not a villain, but his behavior hurts the people he loves. Gossling is fearless in depicting his Ken with some homoerotic overtones along with his child-like ignorance and petulance. He does a great job of regressing into a young boy’s mindset. Gosling also entertains with his musical ability, learned as member of the Mickey Mouse Club in his youth.
Gerwig does give us villains. She lets Will Ferrell be his wild self as the CEO of Mattel chasing Barbie to get her back in the box where he can control her for profit. Interesting that Mattel allowed this portrayal of corporate ethos, except it’s sure Mattel will cash in on the marketing gold.
The last third of the film is a real heart tug. Barbie meets her creator, Ruth Handler, who fought for 3 years with Mattel to make Barbie. It was to be the female ideal but was anatomically impossible. When the woman’s movement took hold in the 70’s there was plenty of criticism of that body image, no diversity and misogyny rampant for women seeking careers. Gerwig touches on all of it in this film. But she also honors Ruth Handler’s success as well as her troubles in the real world while showing her to be beautifully human.
With a great script, sets, costumes, and creativity, Gerwig, Baumbach, Robbie, and Gosling define the summer blockbuster, and with all respect to Oppenheimer, nary an explosion. Robbie infuses Barbie with the exuberance and joy we expected from the portrayal. But the descent into actual life issues is a surprise that the audience never suspects is coming. Gerwig’s visualization is a true feat, right down to Barbie’s feet.
Warner Bros. 1 hour 54 minutes PG-13
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