Review: Barbie is exisential brilliance -- and also a lot of fun
Barbie and Ken are prepared to journey into the heart of darkness — aka the real world.
“Thanks to Barbie, all problems of feminism have been solved,” says the voice-of-god narrator during an intro aerial shot of “Barbieland,” a relentlessly peppy matriarchy of plastic houses near a sun-lit beach. From here, our heroine — dubbed “Stereotypical Barbie” , as she resembles the model invented by Mattel CEO Ruth Handler in 1959 — sets off on yet another perfect day in her perfect world.
Things go awry when Barbie suddenly has “thoughts of death” and her upper thighs display a faint ripple of cellulite. Something is wrong — very wrong! Consulting “Weird Barbie” , Barbie is advised to take a portal to the real world and confront the girl who’s playing with her — the girl whose malaise and indignation are responsible for the doll’s dysfunction. Much of the humor in the “real world” comes from Barbie’s befuddlement that women don’t run it and Ken’s wild glee that, in fact, men do.
“How did this movie get made?” my partner asked me around two-thirds through. Good question. Gerwig and Baumbach fought to keep artistic freedom with the script, even when Mattel and Warner Bros. initially insisted on approval, and so what could come across as yet another nostalgic Hollywood cash-grab is instead a send-up of both consumerism and conservative gender roles.ultimately asks what it means to be mortal, what it means to be alive — and it takes these questions seriously.
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