Greta Gerwig’s live-action film humanizes Barbie and reflects womanhood in a society built on more synthetic molds than the doll herself. Tugging at heartstrings and infused with next-level satire, it’s no wonder the 2023 blockbuster is officially Warner Bros.’ highest-grossing domestic film.
The movie opens with little girls playing with their baby dolls in a premodern world. Then, as an homage to “2001: A Space Odyssey” directed by Stanley Kubrick, Barbie is supernaturally brought into the scene, interrupting the kids at play.
Quickly ditching their babies for the excitement of this new toy, the little girls are introduced to an alien idea about upbringing. Playing with Barbie meant playing with the idea of a future not limited to motherhood.
Flash forward to present day — viewers are toured around Barbieland, a pink utopia of esteemed Barbies, besotted Kens and a fan favorite, Allan. Each Barbie has a designated role, ranging from Doctor Barbie, President Barbie, Scientist Barbie to even Mermaid Barbie.
These titles, while sustaining Barbie’s purpose demonstrated in the first scene, are now also supposed to hint at the embedded flaws in a supposedly perfect world. For one thing, they minimize the characters to a single attribute, a systemic limitation that Stereotypical Barbie (played by Margot Robbie) starts to realize when she experiences very un-stereotypical changes. It all starts with a flat foot, followed by expired milk, burnt waffles, “irrepressible thoughts of death” and GASP … cellulite. As it turns out, Stereotypical Barbie is much more than how her title has since defined her.
Talk about an existential crisis.
The titles do more than just allude to inherent limitations — they also nod to the paradox of expectations in a world dominated by the patriarchy. The contrast between Barbieland and The Real World is one that Gerwig cleverly weaves throughout the film, addressing the double standards that are rooted in the foundation of society.
Women should be doctors, but they shouldn’t complain about gender stereotypes and discrepancies in the education system. Encourage women in STEM! But wait, women should also be mothers and caretakers. Women can be lawyers, but God forbid they’re too loud or demanding.
One of the many ways the film demonstrates this catch-22 is by addressing the innate restrictions of the movie itself. The feminist advocacy preached throughout the movie is only as sincere as its scaffolding, which as the movie reveals, is an all-male executive board. By acknowledging the double standard in consumerism, Gerwig is able to keep a firmer grip on the film’s messages, more so than if she were to breeze over the satiric nature of men profiting off women’s empowerment.
While the “Barbie” movie is women-oriented, it is not the pinning of men against women. Rather, this film thoroughly embodies the complexity of identity and the arduous, uncomfortable, beautiful road of self-discovery.
Enter Ken.
The feminist utopia of Barbieland is a stark contrast to our male-dominated reality, placing Barbies as figureheads and leaders of society and leaving Kens in their shadows with little to no purpose other than “beach” and swooning over Barbie.
In addition to creating Barbieland to call at the absurdity of such a dichotomy, it also allows for Ken’s much-needed character development, where he learns he’s more than just Barbie’s love-struck sidekick.
When Ken follows Barbie into The Real World, he learns about the patriarchy and falls in love with the concept of men ruling all. He brings this idea back with him to Barbieland, changing it to “Kendom” and brainwashing the remaining Barbies to play at the Kens’ beck and call.
When Barbie returns, she and the other Barbies eventually reclaim their reign, not just because of the fragility of the patriarchy in Barbieland, but also because Kendom was, at large, simply a mask of Ken’s deeply rooted insecurities. The composition of Barbieland had perpetuated Ken’s feelings of insignificance, as he was frequently reassured of his meager role in society. This prompts a conversation between Barbie and Ken, where Barbie acknowledges her poor treatment of him, but also how he is much more than his relation to her.
While both worlds expect men to conceal their emotions and define themselves by occupation and women, The Real World has yet to really embark on a necessary conversation like the one between Barbie and Ken.
Among its themes of multifaceted identities and contradicting expectations, Barbie also recognizes the hindrance of male emotion and the ensuing validation found in the patriarchy.
Strung together by an ensemble of A-list actors, a deeply satirical perspective of society’s shortcomings and the unwavering Kenergy throughout the film, the “Barbie” movie establishes itself as an exemplary balance of social commentary and entertainment. Reimagining Barbie into a live-action portrayal has done the doll’s purpose more justice than ever before, demonstrating the imperfections of our world as well as the imperfections of the perfect doll herself.
Mirroring the real world with Barbie is a tactic that reaches a breadth of audiences, with its simple doll approach on complicated human problems. The “Barbie” movie is a pop cultural sensation from every angle, and ultimately a maternal wake up call that we are much more than plastic human shells living in their perfect dreamworld.
Rating: 5/5