This review was published during the WGA and SAG-AFTRA strikes of 2023. Barbie would not exist without the labour of its writers, director, actors, and the many departments integral to the filmmaking process. Learn more about the demands of actors and writers here.
“Do you guys ever think about dying?” –Barbie
One of the most highly anticipated films of the year is finally upon us, and Greta Gerwig’s Barbie doesn’t pull back on any of its punches.
When Barbie was created, she was meant to be every little girl’s dream. She was a new take on toys and an effort to step away from baby dolls to have girls aspire to something more than just motherhood. However, the idea was geared toward a specific person. But over time, the concept expanded to incorporate all different Barbies, which audiences see when they’re first introduced to Barbieland.
Barbie–the Barbie most people default to when thinking of Barbie–(Margot Robbie) is enjoying her time in Barbieland. Whether out for a drive in her pink convertible, attending a Nobel prize ceremony, or voting for what’s best in Barbieland alongside President Barbie (Issa Rae), Barbie is everywhere and participates in everything throughout the land. Of course, there’s always time for a fun beach day or a blowout dance party where every night is girls’ night – much to the chagrin of the Kens. With all of them vying for the attention of all the Barbies, Ken (Ryan Gosling), Ken (Ncuti Gatwa), Ken (Kingsley Ben-Adir), etc., all want to spend time with Barbie, but also feel a little neglected because they’re, well, just Kens.
However, when strange things start happening to Barbie, including cold showers, burnt waffles and extremely distressing flat feet, she is encouraged by her fellow Barbies, specifically Doctor Barbie (Hari Nef), Lawyer Barbie (Sharon Rooney), Author Barbie (Alexandra Shipp), and Physicist Barbie (Emma Mackey) to seek assistance from Weird Barbie (Kate McKinnon), the Barbie who knows the most about strange happenings in Barbieland. Upon her visit, Barbie chooses between a stiletto representing her current life in Barbieland or a Birkenstock, which means the real world and its secrets. Although she wants things in Barbieland to return to how they were, Weird Barbie explains that the only way to correct the current course is to travel to the real world and set things right, if possible.
Much like Gerwig’s film, Lady Bird, Barbie fits in multiple themes, including existential crises, patriarchy, feminism and more, but as Gerwig has proved by her writing prowess in the past, the inclusion of these many themes never makes the film feel overstuffed. Everything is perfectly balanced with great set pieces, comedic timing and, of course, a few musical interludes (I mean, do you know how many instruments Barbie and Ken play?!). All this is to say that Gerwig and partner Noah Baumbach created a world that not only brings the joys and nostalgia of Barbieland, Dreamhouses included, but also gives viewers a deconstruction of the iconic collectible, what she stands for, and how some elements have been lost along the way.
Gerwig tackles the deeper themes and narrative with vitality and care, but a film this vibrant in her imagination cannot spectacularly come to life without a dynamic and talented creative team. Jacqueline Durran’s costume is the necessary thread that ties the whole picture together. Without her brilliant designs and inspired fashion choices, Barbie would not be the mega-fashion moment it is now. Sarah Greenwood’s production designs are perfect, capturing the picturesque fun of Mattel’s designs. Katie Spencer and Ashley Swanson give each space texture. Rodrigo Prieto has the task of making sure all the pink and the bright dazzling Barbieland setting don’t burn our retinas, and he does it with such expertise and talent. The music by Mark Ronson and composer Andrew Wyatt is just the cherry on top of a visually engaging and stimulating film.
The film would not be possible without the charismatic cast assembled. Margot Robbie shines as Barbie. Perfect in every way, much like Barbie herself, Robbie puts forth another stellar performance worthy of any accolades she might receive. Robbie gives life to a character many could see as one-dimensional, especially when referring to the original Barbie. Robbie makes the character lovable, kind, and inspiring – everything that the original Barbie was meant to be. Robbie captures it all, giving a heartwarming and emotional performance that I don’t believe any other actress could have embodied with such perfection.
Of course, we cannot talk about Barbie without mentioning Ken. As the film’s main Ken, charming Canuck, Ryan Gosling grabs the bull by the horns and gives one of the best performances of his career. A role Gosling self-proclaimed that he was “born to play,” you’d be out of your mind to disagree with him after seeing the film. His “Kenergy” is flawless, and he’s a scene-stealer for much of the film. Equal parts hilarious and self-effacing (it was giving Sean Hanlon energy; Breaker High fans stand up!) due to being in Barbie’s shadow, Gosling’s Ken is adorable. Even when he gets to the real world and learns about patriarchy, becoming a jerk, you can still see his absolute love for Barbie, something only Gosling could manage. Gosling’s Ken is one of the movie’s many highlights and for a good reason. Just like the rollerblades he never leaves without, Ken doesn’t want Barbie to ever leave without him, making Robbie and Gosling quite a delightful pair.
In addition, we have “She’s a human” America Ferrera. In the film, Ferrera portrays Gloria, an employee from Mattel who wants to help Barbie and explain how the real world works. As per usual, Ferrera is entirely endearing. Ferrera is pitch-perfect as Gloria and is wholly believable as the mother who is still hopeful that Barbie can live up to all the ideals and goals she was first created to embody, even showing her daughter, Sasha (Ariana Greenblatt), that Barbie isn’t entirely just a consumer product to profit off of. Ferrera delivers a passionate monologue that displays her acting prowess and will have you nod along with all of its frustrating truths. Ferrera brings her signature magnetism which makes viewers gravitate toward and relate to Gloria in a myriad of ways.
But what Barbie does best is that it has something for everyone, which is a feat. It has plenty of tongue-in-cheek and on-the-nose humour (like the all-male, mostly white executive committee at the faux, yet real Mattel) and important messages about feminism, its meaning, and how it has evolved and devolved over time, and how that is part of the existential crisis that Barbie is currently experiencing. Despite the perfection in Barbieland and how all Barbies tried to make things perfect for the girls and women in the real world, there is always something that can stop progress: Humans. The film does the same with patriarchy, pointing out the inequity it causes, how being seen as less than or living for or being created for others only leads to someone, whether you’re a Barbie or a Ken, to have to find who you are for yourself, despite the world trying to tell you that you’re supposed to be someone else. Again, this is all done so cleverly, thanks to Gerwig and Baumbach’s writing, that while I’m sure it will ruffle some fragile feathers, those who get it will get it and see the truth behind every theme laid out in the film.
I cannot express enough just how much it meant to see so many different Barbies and Kens taking up space on the big screen. Barbie packs some emotional gut punches throughout, which I was expecting, and the film is better for it. Coupled with important commentary on relevant themes, great music and laughs, Barbie will surely be a hit with audiences this summer. Much like Diamond Dazzle Barbie, the facets of the Barbie film shine spectacularly.
Muses of Media 
Leave a comment