The Barbie Movie: A Review

WARNING: This article contains minor spoilers for the Barbie movie.

My Barbie’s name was Kenzie. She was president and lived in the iconic pink and purple Malibu Dreamhouse, she didn’t have a Ken, but her best friend in the whole world was my sister’s Barbie, with whom she shared my mom’s vintage baby pink Barbie camper. In the briefest of words, Barbie has been dearly loved for generations by many; myself included–this movie captured that love.

Since the first teaser dropped, it has been one of the most anticipated films of the year. I have to admit; I was beyond thrilled with the mere look of the film when all we had to go off of were screencaps and trailer clips. People were planning their outfits, themed parties, and double features with the film’s shared premier of Oppenheimer. And when I walked into that theater, I wasn’t the slightest bit disappointed.

I saw women and girls of all ages, and all dressed in some variation of pink. I was lucky enough to see it with the woman who introduced me to Barbie: my mom. From the very start, Greta Gerwig (director) had a vision, and it was executed exquisitely. The opening scene, though somewhat juxtaposing the aesthetic, was the perfect precursor to the cultural impact Barbie has had for decades. The transition to the technicolor dreamscape of Barbieland had one of the best set-dressing and designs I have seen in a film. Everything was meticulously selected to mirror the vision of Barbie through the years, drawing inspiration from real products, accessories, and fashion. If you were a big fan of Barbie, you will likely spot some familiar favorites in the shots!

The casting was unexpectedly fitting for the roles. Margot Robbie was undoubtedly one of the top contenders from the very beginning for the real-life Barbie. She possessed the physical characteristics, and her acting range has been proven time and time again. This time, she was able to elevate the role to an entirely new level. Barbie’s character was transformed beyond a two-dimensional girly powerhouse to a commentary on what it means to experience girlhood firsthand. She covered a large spectrum of feelings with quick line delivery and glowing chemistry with her fellow cast members. Ryan Gosling, depicting Ken, was questioned by several online critics for not being right for the role. To which I say, he was more than Ken-ough. He brought the storyline full circle with the bonus of humor, heart, and a handsome face to complete the package.

The script and plot were a delightful surprise, with maybe a little too much ground and not enough time to cover. Real World VS Barbieland was implied from the beginning, with teaser images and the trailer setting up a strange crossover that felt reminiscent of The Chronicles of Narnia. Barbie and her real-world counterparts, played by America Ferrera (Gloria) and Ariana Greenblatt (Sasha), explore themes of womanhood, mother-daughter relationships, and the growing pains of what it means to emerge as a woman in society.

As the two worlds begin to influence each other, leading to the corruption of one over the other, there is a distinct message being sent to the viewers. The “Real World” is harsh on women and even harsher on the little girls that reside inside of all women. To be seen on the screen in such a clear, concise, and familiar way was simultaneously jarring and heartwarming all at once. Misogyny and patriarchy were caricatured to extremes yet still reflected the very tangible effects and damage they left in their wake.

Of course, I do believe that gender and their accompanying social connotations combined with a deep analysis of womanhood, on the whole, is a little much to pack into two hours. In all honesty, I felt as though the themes could have been dug into deeper. There is too much to explore, and I admire Gerwig’s attempt to do so in one film. However, it ended up working against the pace of the film as I was left wishing we lingered with Gloria and Sasha, Feminine self-worth, and the connections that bind women together. I adored every takeaway and do not fault the movie for trying to cover all of the bases, but the time could not warrant a fulfilling analysis on its own.

The film wraps up with a magnificent monologue delivered by Ferrera and a reflection on the consciousness of women. My heart was touched. The waterworks sprung forth four times with an extra teary-eyed moment before and after the movie. My mom and I clung to each other in the final twenty minutes as we came to an unspoken understanding of each other–of every woman in the theater. Walking out of the film, I can confidently say that it conquered joyous and melancholic femininity in a way only the words and vision of a woman could. The film was indeed for everyone; it packed a punch in the delivery and softened the blow with pastels and an outstanding performance of Michael Cera as the one and only Allan.

In the restroom directly after the end credits, I overheard a little girl no older than nine say, “I want to see it all over again.”

I am right there with her. If you see it once, you’ll want to see it all over again.