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MESSAGE IN THE MOVIES

When the first Barbie doll was introduced in 1959, it was advertised as a fashion doll, and an alternative to the many baby dolls that most girls purchased. The doll was blonde with an incredibly small waist and dozens of sets of fashion outfits were sold separately. It was a huge success worldwide but as women began to speak out for more recognition and empowerment, the doll received backlash for its stereotypical depiction of beauty. Anyone familiar with the Barbies of today know that there are dozens of dolls representing racial diversity as well as a myriad of occupations.

And – naturally – Barbie’s primary color scheme is pink.

Director and Co-writer Greta Gerwig’s Barbie is a movie with a lot on its mind. It begins with a brief history lesson (narrated by Helen Mirren) before we meet the ever-smiling, ever-content “stereotypical” Barbie (Robbie), living in Barbie Land with her doll friends, also named Barbie, as well as a multitude of boy dolls who are all named Ken (except for one doll named Alan) (played by Michael Cera).

As the Barbies get a party going with a group dance, Barbie suddenly blurts out: “Do you guys ever think about dying?” Her question brings a momentary pause to the festivities but initiates a visit to Weird Barbie (Kate McKinnon) – the resident sage – who encourages her to make a trip (via car, boat, bicycle, and rocket ship) to the Real World to meet the woman who owns her (America Ferrera). Tagging along for the ride is Ken (Gosling). Both of them will be startled by what they witness, and their adventure will be of significance when they return to Barbie Land, with a team of worried Mattel executives (led by Will Ferrell) hot on their trail.

Virtually everything that I have shared so far is revealed in the film’s trailer, but I was not prepared for the layers of social commentary that are the essence of this film. This is a beautiful, candy-colored movie with a script that could be considered literary satire. The film has things to say about the objectification of women, misogyny, patriarchy, politics, self-worth, body image, and creation. There is enough feminism in the script that it also passes the Bechtel Test; there are no romantic subplots between the Barbies and the Kens.

This is an extremely entertaining project, with enough original songs and dances to qualify as a musical. Simu Liu and Issa Rae stand out as another Ken and Barbie and America Ferrera has a memorable monologue that is bound to be recited for years to come.

I have just a couple of caveats:

Everyone seemed to leave the theater smiling and in good spirits, but Barbie is not a kid’s film and will have the most to say to viewers 15 or over. It’s just too-darn-nice to get an age-appropriate R.

The urgency of Barbie’s agenda is likely to give this movie a short shelf life. If we are still discussing these themes in the same way five years from now, it might be time to grow up and put the dolls away.

Halo and Pitchfork Rating:

Four halos: A sweet, good-natured reflection on changing gender roles in America during the last 65 years.
One pitchfork: Mild swearing, mild sexual innuendos.

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