Barbie (2023)

★★★★★

A Dance of Dolls and Dichotomies

Greta Gerwig's film Barbie (2023) stands as a searing critique of societal norms. With an exactitude akin to the keen edge of a razor, it elegantly dissects the fabric of entrenched societal structures. The film provocatively subverts traditional gender roles, nurturing cognitive dissonance in viewers beholden to such conventional dynamics. The aim? To incite a paradigm shift towards a fairer understanding of these pressing societal conundrums.

Gerwig's skillful directorial hand bravely challenges the widespread images that shape our perceptions of femininity and gender roles. She depicts a matriarchal utopia in Barbieland where women are portrayed as self-confident, self-sufficient, and successful—a stark deviation from the stereotypical image of "Barbie" fostered in the "real world." However, when the stereotype embodied by Margot Robbie's "Stereotypical Barbie" starts to "malfunction," she embarks on an introspective journey, grappling with her longing for independence and the complexities of feminine empowerment.

Through an exaggerated portrayal of Barbieland, Gerwig presents a compelling reductio ad absurdum argument, pushing gender roles to such an extreme that their inherent flaws and inequalities are glaringly unveiled. In Barbieland, the Barbies hold esteemed positions as doctors, lawyers, and politicians, while the Kens are confined to trivial roles and leisurely pursuits. This jarring reversal spotlights the inequalities in our society and implores audiences to question the norms they have come to accept.

As the plot progresses, an intriguing inversion takes place: the Kens, led by Ryan Gosling's "Beach Ken," usurp power in Barbieland, relegating the Barbies to submissive roles. They become maids, housewives, and subservient girlfriends, providing a satirical critique of the oppressive patriarchal structures and inciting a dialogue about gender dynamics.

The film doesn't shy away from confronting real-world issues such as unrealistic beauty standards and identity crises, subverting the stereotypical depiction of Barbie dolls as problem-free and perpetually cheerful. This disruptive approach gives rise to critical discussions about body image, self-identity, and the subliminal messages propagated through children's toys.

The crowning achievement of Gerwig's Barbie is arguably its meticulously constructed mise-en-scène. The film employs vibrant pinks and pastels alongside upbeat dialogue and an energetic soundtrack, skillfully weaving dramatic irony into its narrative fabric. This joyful aesthetic serves as a stark contrast to the gravity of the themes explored—the gender roles and power dynamics. The apparent contradiction amplifies the underlying cognitive dissonance, challenging the audience to confront the deep-seated societal norms they may unwittingly endorse.

The vibrant mid-century modernist architecture inspired set, designed by Sarah Greenwood and Katie Spencer, adds a unique character to the film. Gerwig and her team's innovative approach morphs the Barbie Dreamhouse into a tactile, lively space that mirrors the mid-century modern aesthetic of Palm Springs, with a unique shade of pink paint defining the ambience.

The costumes designed by Jacqueline Durran play a pivotal role in character development. Durran's creations reflect the characters' occupations and adapt outfits from vintage Barbie dolls, while the wardrobe of Ken delves into sportswear aesthetics from the 1980s. These stylistic choices map the journey of Barbie and Ken as they navigate through a patriarchal society, providing a stark contrast to the matriarchal utopia of Barbieland.

The musical score, compiled by Mark Ronson and Andrew Wyatt deepens the thematic richness of the film. Their carefully curated soundtrack, featuring an array of contemporary artists, adds another dimension to Gerwig's vision for Barbie. (The soundtrack notably omits the controversial 1997 song "Barbie Girl" by Aqua due to historical legal disputes, instead featuring a reimagined version, "Barbie World.")

Barbie is a film that stirs existential thoughts, inviting the audience to ponder what it means to be human, the concept of 'the other,' and the struggle between free will and societal constraints. The characters' journeys resonate with Beauvoirian existentialism, underlining the philosophical core of the film.

In The Ethics of Ambiguity, [Simone de Beauvoir] developed an existentialist ethics that condemned the “spirit of seriousness” in which people too readily identify with certain abstractions at the expense of individual freedom and responsibility. In The Second Sex, she produced an articulate attack on the fact that throughout history women have been relegated to a sphere of “immanence,” and the passive acceptance of roles assigned to them by society.

(Internet Encyclopedia of Philosophy: Simone de Beauvoir (1908—1986))

The film also participates in the discourse of feminism, illustrating a matriarchal society and its potential parallels to the flaws of patriarchy. It challenges the conventional representation of Barbies and Ken dolls, subverting their established gender norms. This unique portrayal of mainstream femininity strikes a chord with audiences, transforming it into a significant cultural phenomenon.

In its exploration of masculinity, Barbie critiques patriarchal expressions and offers an alternative, suggesting the possibility of redefining masculinity for its own sake. The film presents nuanced struggles of male identity, illustrating how men can misinterpret women's intentions and how they can morph their loneliness into sexual pleas.

Overall, Gerwig's Barbie is far more than a simple adaptation of a pop-culture icon. It's an intricate exploration of existentialism, gender, and societal norms set within the colorful, tactile world of Barbie and her friends, establishing itself as a thought-provoking cultural touchstone.