Grade: B+/B
Fantasy-Comedy
Rated PG-13
Barbie’s creator, Ruth Handler, merited a chapter in the 2018 book Shapers of American Childhood, and why wouldn’t she? Barbie was a blank slate. For the first time, girls had a doll that wasn’t a baby who dictated pretend motherhood play. With Barbie, they had a doll who was ostensibly a teen or adult, and that invited them to pretend play in a totally different way. They could be more than nurturing mothers.
Sure, Hasbro coined the term “action figure” to apply to a similar sized doll—G.I. Joe—that would appeal to boys, but that was in 1964. Barbie debuted in 1959, and though Mattel marketed her originally as a “fashion doll” with multiple outfits to buy and rotate, she had moveable arms, legs, and head, same as the army doll. Girls could pose her to ride in her pink convertible or boat, surf at the beach, swim in her pool, shop at the stores, or work behind the desk as a business executive. So yeah, a case can also be made for Barbie being the first action figure.
But through four waves of feminist criticism, Barbie also has come under fire for everything from the unnatural “ideal” shape of her body and what it does to girls’ self-image, to some of the things that the talking Barbies said (“Math is hard”) and early attempts at diversity that still used the same body mold and Caucasian features.
Barbie the live-action film (not to be confused with the 42 animated and streaming TV films) celebrates the iconic nature of the doll and is chock full of allusions to the wardrobe and accessories of Barbies past. The thoughts behind Barbie’s creation—“A doll can help change the world” and “You can be anything”—celebrate the creator’s intent and Barbie’s iconic status. But that’s offset by the campy Zoolander airheadedness of the various Barbies and Kens. Surprisingly, the criticisms are also taken into account, with plenty of jokes and allusions. The result is a rich assessment of a doll that was an important part of postwar American culture—a clever film that manages to have it both ways. For that, credit co-writers Greta Gerwig and Noah Baumbach, as well as Gerwig’s direction.
Barbie, as the world knows by now, stars Margot Robbie as the title character, and Ryan Gosling as Ken, the doll who exists only in relation to Barbie as a kind of accessory. Almost every other female is also named Barbie to reflect the different models and types that were produced over the decades, and there’s more than one Ken as well. The elevator pitch for this film could have been made between two floors: First Barbie, then Ken has an existential crisis.
Margot Robbie and Ryan Gosling nail it as the main Barbie and Ken, the forever California beach-culture kids who never age and never seem to change in a sort of utopian alternate reality where all Barbies are successful businesswomen, lawyers, doctors, teachers, and elected officials, while Kens are just arm candy and perpetual beach boys with nothing to do but be “Ken.” That in itself makes for a clever construct of an inverted world.
There’s also something Elf-like about Barbie. Like Will Ferrell’s Buddy the Elf, a wide-eyed, naïve Barbie and Ken leave their highly stylized fantasy world full of bright colors for the industrial look of the real world. The result is a fish-out-of-water comedy. Buddy was on a mission to find his “naughty” father, while Barbie is told by “Weird Barbie” (Kate McKinnon) that she needs to travel to the real world to find the child who’s playing with her in order to get to the bottom of why she’s experiencing sudden concerns about mortality and discovering such human imperfections as cellulite, bad breath, and flat feet. Like Back to the Future, the reason for having to go back might be crucial to the plot, but it’s not the source of pleasure. Juxtapositions between the two worlds are, and Ken’s discovery that in the real world men (rhymes with Ken) are in charge. Suddenly he’s embracing “the patriarchy” and bringing those ideas back to Barbieland.
So far Barbie is the highest grossing film of 2023, and the film’s musical numbers received 11 Grammy nominations. Even if it wasn’t half of the pop-culture “Barbenheimer” phenomenon that saw post-COVID moviegoers flocking to see both Barbie and Oppenheimer because they were released about the same time, odds are that Barbie would have been a tremendous success because it appeals to both Barbie fans and critics. Throw in musical numbers and humor, and it expands the appreciative audience even more. And the soundtrack features Ava Max, Charli XCX, Dominic Fike, Fifty Fifty, Gayle, Haim, Ice Spice, Kali, Karol G, Khalid, Sam Smith, Lizzo, Nicki Minaj, Billie Eilish, Pink Pantheress, Tame Impala, the Kid Laroi, and cast members.
Because of its complexity and ideational juggling act, Barbie the movie ends up being as much of a blank slate as the dolls. People will see what they want to see in the film, and that’s almost as phenomenal as Barbie, whose creator, Ruth Handler, also is celebrated. And I mean celebrated. That’s the overall tone of this film, and the music makes it feel like somebody’s birthday—like Barbie’s 64th.
Entire family: Yes (most of the PG-13 stuff will fly right over their heads)
Run time: 114 min., Color
Studio/Distributor: Warner Bros.
Aspect ratio: 2.00:1
Featured audio: Dolby Atmos TrueHD
Bonus features: B
Rated PG-13 for suggestive references and brief language
Language: 2/10—One censored f-bomb, references to “phallic”, and a few “bitches” that pop up in one soundtrack song
Sex: 2/10—Construction workers catcall Barbie, who responds that she has no vagina and Ken has no penis; Skipper’s breasts inflate to imitate the short-lived “Growing Up Skipper” doll; male cops and a man on the street sexualize Barbie, the latter by slapping her butt off camera; and Barbie showers, with nothing shown
Violence: 1/10—A comical big fight, with punches, kicks, and silly weapons applied here and occasionally elsewhere that seems clearly cartoonish
Adult situations: 1/10—The Kens drink beer though it’s only pretend beer, as with all Barbie and Ken actions to imitate pretend play of the dolls.
Takeaway: This is one film I hope isn’t followed by a sequel, for a sequel, I fear, would totally remove any have-it-both-ways ambiguity toward Barbie and Ken; Barbie works, but I’m not sure Barbie II would