Greta Gerwig’s ‘Barbie’ has undoubtedly become a cultural phenomenon. Press tours and premieres featuring archival Barbie looks brought to life, a soundtrack filled with some of the pop pioneers of today, and a marketing campaign so powerful it has simply taken over the world.
Whispers from the film’s initial announcements have turned into shouts of excitement, and now the film is finally here. With a cast including Margot Robbie, Ryan Gosling, Will Ferrell, Issa Rae and Kate McKinnon, fear not – ‘Barbie’ is, in its totality, a thrill to experience. But the trip to Barbie Land doesn’t come without a few bumps.
There’s something magical about witnessing the final product of a film which has teased and drip-fed the public for months. Being able to connect the dots and witness it in its entirety is special in and of itself.
Helen Mirren’s matter-of-fact narration pulls everything together excellently throughout. Her deadpan delivery of hysterical, meta lines is a fun constant. ’Barbie’’s opening sets the scene – giving the audience a little history lesson on the doll and its many iterations, skills and careers. Stylistically, it’s a triumph. Slick, and smooth. . . This world is enticing and easy to settle into from the jump.
The most fun, engaging and enthralling parts of ‘Barbie’ are set among the technicolour plastics of Barbie Land. The beach and Barbie dreamhouse sets are particularly impressive, expertly painting the picture of perfection, and heightening the bliss ignorance of all those who live in Barbie Land.
Margot Robbie was made for this. The simplicity of her role as stereotypical Barbie is executed well, but Margot really flexes when Barbie begins to feel things other than blind happiness. It’s a shift which should feel unnatural, but absolutely doesn’t.
Ryan Gosling’s Ken is a total stand-out for the same reason. HIS shift from lovestruck simpleton to. . . Something we won't spoil here. . . Is just as entertaining to watch. The chemistry – or lack thereof – between Barbie and Ken is fantastic, totally cringe and captivating to see unfold. Margot and Ryan could be serious contenders for some big awards – keep an eye out.
The plot's skeleton is strong enough – Barbie must leave Barbie Land and venture to Real World in pursuit of her owner. When Barbie arrives in Real World, however, she’s immediately struck by the fact that things aren’t as plastic and fantastic – both aesthetically and in regards to who seems to be running the show. Men are favoured here, and through some pretty disturbing yet very real interactions, it doesn’t take long for Barbie to begin feeling unsafe and insignificant. . . And for Ken to start marvelling over what he's been missing.
This is a straightforward concept, however there are times in ‘Barbie’ where it feels confused in its intent. As a viewer, you’re taken on quite the roller coaster. Light moments of laughter veer abruptly into moments of genuine despair, and while a well-rounded film is arguably one that can elicit myriad emotions, there’s something mildly frustrating about the timing here. Most notably, sincere, poignant scenes hit hard. . . But don’t linger long enough to have a profound effect before they’re squashed by the silly humour of the following scene. Leaving the cinema, I was certain of what I had seen – but not so steadfast on how I was supposed to feel about it.
Barbie’s motivation for venturing to Real World, and the reason for her sudden existentialism, could have been stronger – I couldn’t help but compare one or two plot devices to early-2000s Disney telemovie ‘Life Size’, concluding that ‘Life Size’ executed them a little better.
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In saying all of this, perhaps one could argue that “it’s just a movie about Barbie, it’s not that deep”. The only flaw in that logic is that there are scenes here which feel remarkably nuanced and layered, vividly contrasting those which feel childish and goofy. As previously mentioned, the moments of despair are heartbreaking when you're in the thick of them. Perhaps the winning argument is that, like the doll, ‘Barbie’ the FILM is everything, and that’s what Gerwig intended. That doesn’t necessarily mean that the film has walked the line in the most effective of ways, however. Giving certain sections some extra space to breathe and to really affect the audience may have strengthened some of the film’s key points.
There is gorgeous, clear feminist messaging here, interwoven expertly with the main storyline. An impassioned speech from America Ferrera is one of the most memorable moments of the film. A moving montage accompanied by Billie Eilish’s devastating ‘What Was I Made For?’ brings a tear to this reviewer’s eye purely upon reflection. The most important messaging in this story is fairly easy to grasp – and that might be part of what saves it and makes it, on balance, a legitimately absorbing experience.
Save for some strange choices in plot device and some bizarre timing, 'Barbie' is a great time at the cinema with important key messages, gorgeous set pieces, a toe-tapping soundtrack and a cast of wonderful talents. Stand-out performances include Margot Robbie, Ryan Gosling, Kate McKinnon, Will Ferrell and the short but sweet inclusion of Rhea Perlman.
★★★★☆
