Greta Gerwig’s “Barbie,” starring Margot Robbie and Ryan Gosling, presents a vibrant, pink-soaked universe that is both a homage and a satirical take on the iconic doll’s legacy. The film, written by Gerwig and Noah Baumbach, oscillates between a gleeful embrace of Barbie’s fantastical world and a mild critique of its underlying capitalist and gender dynamics.
In Barbieland, a Barbie-archy exists where Barbie, alongside her fellow dolls, thrives in various esteemed roles, from Nobel Prize winners to astronauts, embodying the peak of female empowerment within a sanitized, problem-free environment. This utopia contrasts sharply with the male counterparts, particularly Ken (Ryan Gosling), whose existence is marginal and largely defined by Barbie’s presence. However, when Barbie and Ken venture into the “real world,” the film attempts to navigate more complex themes of inequality, patriarchy, and existential crisis, albeit with a mixed success rate.
The critiques point out that while the movie boasts a unique visual language, rich with musical numbers and a distinct aesthetic reminiscent of Gerwig’s previous work, it struggles to firmly grasp the satire it aims for. The film’s narrative seems caught between celebrating Barbie’s universe and critiquing the capitalist foundations it stands on, ultimately pulling its punches in the face of delivering a more incisive commentary.
Ryan Gosling’s Ken, allowed to steal the show, embodies a satirical take on male entitlement and patriarchy, providing a mirror to Barbie’s polished, conflict-free existence. This contrast, while humorous and engaging, sometimes feels as if it undercuts the film’s feminist aspirations, turning the critique into something more resembling a toy commercial rather than a sharp societal commentary.
Furthermore, the film’s engagement with diversity and representation, through an assortment of Barbies meant to reflect a broader spectrum of beauty and capability, is both acknowledged and criticized. The inclusion of diverse Barbies is seen as a step forward but also as a token gesture that barely scratches the surface of addressing deeper societal and structural issues.
The movie’s latter half, focusing on Barbie’s and Ken’s adventures in the real world and their encounters with a mother-daughter duo grappling with their own views on Barbie, attempts to explore the impact of patriarchy on women’s lives. However, the execution of these themes is noted to lack depth, resorting to broad strokes rather than nuanced exploration, leading to a conclusion that feels unresolved in its societal and philosophical inquiries.
In the end, “Barbie” dazzles with its ambitious visual flair and comedic elements but falls short in delivering a cohesive critique of capitalism masked as female empowerment. The film, despite its moments of brilliance, struggles to balance its celebratory tone with the critical perspective it hints at, ultimately leaving viewers with a spectacle that entertains but doesn’t profoundly challenge.
