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I find myself quite perplexed about this movie, which I believe is a sentiment shared by many. On one hand, I found myself laughing heartily. I hadn’t experienced this with a movie in quite some time. The movie’s overall vibe is incredibly appealing, drawing you in. Yet, on the other hand, while not overtly anti-men, the movie aims for a profound message. It occasionally veers into what feels like a tantrum.
Media figure Jack Posobiec described Barbie as a “man-hating Woke propaganda fest.” He criticized the film for portraying the Kens as less intelligent than the Barbies. He also criticized its themes about rising up against the patriarchy.
Posobiec also tweeted a clip of Gosling’s “I’m Just Ken” song from the film. In the clip, the character laments his “blond fragility.” Posobiec called it “possibly the most anti-male film ever made.”
Elon Musk also ridiculed the film’s approach to patriarchal themes. He tweeted: If “you take a shot every time Barbie says the word ‘patriarchy’, you will pass out before the movie ends.”
I would not go as far as some of these critics. The way it presents its feminist ideas can sometimes feel a bit off. It strives to deliver a meaningful discourse but teeters close to sounding like hate speech and mockery. I say “close” because much of this is presented in a humorous context. When it’s not humorous, while not great, it isn’t downright terrible.
Amidst the film’s exploration of feminist themes, its dance sequences emerge as both humorous and impeccably choreographed. These scenes infuse a delightful sense of light-heartedness into the story. They effectively lift the mood. They also showcase the characters’ comedic prowess on the dance floor.
The film’s set design is genuinely impressive. The creative team behind the movie has constructed visually captivating settings that enhance the storytelling. These sets are more than mere backdrops. They become integral to the narrative. They offer a vibrant and immersive backdrop against which the characters’ journeys unfold. The meticulous attention to detail and imaginative design choices contribute to a world that feels oddly authentic and engrossing.
The set design for the film “Barbie” was created by production designer Sarah Greenwood and set decorator Katie Spencer. They are long-time collaborators known for their work on period dramas like “Atonement” and “Anna Karenina”1. Their preparations for “Barbie” started simply: With the purchase of a Barbie Dreamhouse. Their goal was to discover how a person plays with the house, Greenwood tells TODAY.com. From there, they intended to make a physical space that represented how moviegoers may have interacted with their own dolls.
Greenwood and Spencer created an entire Barbie world with minimal CGI. The set had to be made in 3D at the London studio where the movie was filmed. All this was done while obeying the rules and strictures of Barbie Land1. For example, Barbie has lights — but she doesn’t have electricity. Meanwhile, the ocean is made of plastic — but Ryan Gosling’s Ken swims in the sea. “This film, for us, was the most philosophical, intellectual film we’ve ever done,” Greenwood says. “But I think you can completely believe that when you put it against, it’s a Greta Gerwig film. Why would it be any different?”
As they started their plans for “Barbie,” Greenwood and Spencer say they didn’t look to one Dreamhouse in particular. They did not focus on the decades-long evolution in Barbie style and architecture. Instead, they purchased for the latest model, as the film is set in the present. They also didn’t set out to re-create any specific toy that exists on the market. While some of the dolls are perfect imitations of dolls from history — including discontinued dolls. The set was filled with an “interpretation” of a Dreamhouse, rather than a “replication,” Spencer explains. This gave them the freedom to “cherrypick” from across the Barbie anthology. They focused on creating an overall feeling rather than scaling up an existing product.
The movie does not centre around any couple. I only noticed one actual couple in the whole film. The film intentionally spotlights the concept of personal self-discovery and identity separate from romantic relationships. It takes a notable stance by portraying Ken’s inability to win Barbie’s affection, deliberately avoiding the conventional relationship trope. The storyline develops as Ken comes to grasp his own autonomy. He learns the importance of finding fulfilment independent of a partnership. The central message emphasizes that Ken’s inherent value isn’t linked to his relationship with Barbie. He is valuable just as “Ken,” without the need for attachment. This departure from the norm becomes obvious as the film challenges conventional relationship expectations and underscores the significance of self-realization.
However, this leads us to an intriguing question. Is self-realization and an emphasis on the self, as opposed to partnerships, truly beneficial for the individual? Is it beneficial for society as a whole? While the film carries a feminist undertone, its exploration of self-fulfilment extends beyond gender roles and relationships. It raises the broader consideration of whether a society that glorifies individualism and solitude could be beneficial or detrimental.
On one hand, advocating for personal growth and self-awareness can empower individuals to better understand themselves and their aspirations. It promotes the idea that one’s worth isn’t solely tied to their relationship status or societal expectations. This can foster a sense of independence and resilience, enabling individuals to navigate life’s challenges with confidence and autonomy.
Nevertheless, taken to an extreme, a societal shift towards prioritizing self above all else might lead to isolation and detachment. It could even result in psychological alienation. Human connections and relationships play a vital role in fostering empathy, cooperation, and emotional well-being. An overemphasis on individualism could potentially erode these connections. This could result in a society marked by emotional distance and a lack of collective support.
Moreover, the movie’s message hints at a vision of society where being alone is not only acceptable but desirable. While independence is crucial, the notion of total isolation may inadvertently undermine the importance of community and shared experiences. Healthy partnerships and relationships can contribute to personal growth and offer a support network that enhances well-being. On this level Barbie is strangely philosophical.
The movie’s exploration of self-realization is thought-provoking. Its emphasis on the self over partnerships raises questions about the balance between individualism and societal interconnectedness. It goes beyond its feminist message to show a vision of society where being alone is not necessarily negative. As we ponder these concepts, it’s essential to consider how such a shift in perspective might impact individuals. We must also think about how it might affect the broader social fabric.
Reviewed by Pat Harrington
Picture credit
By Carolina Cinemas, Fair use, https://en.wikipedia.org/w/index.php?curid=72508674
Film credits
Director
Greta Gerwig
Writers
Greta GerwigNoah Baumbach
Stars
Margot Robbie, Ryan Gosling, Issa Rae
Certificate
12A
spiritofthedrum said
Interesting review, thanks. I wonder if I am alone in thinking this was some kind of in-house, self-referential parody; ironic and playful, mocking both femininity and masculinity in their exaggerated forms. The politics was crow-barred in and the young girl coming out with such when first meeting Barbie seemed as if she was simply reciting indoctrinated propaganda. There were some interesting themes – but I saw these as spiritual. My son (and his girlfriend) thought the film very anti-female, in fact rendering femininity as one-dimensional. Indeed, although Barbie learns to become a ‘real girl’ (thinking here of Pinocchio), it is Ken that undergoes the most psychological change. This parody/satire/send-up ends with Barbie being delighted to go to a gynecologist. Is that it? From body to body. I was thus VERY surprised to find the director is a feminist and we have been told (apparently) to take everything at face value. Well I hadn’t been instructed beforehand so I took it the way I did naturally. For a feminist film it’s well and truly and huge shot in the foot.
Cheers.