Spoiler warning; there are countless spoilers in this post so if you haven't yet watched Barbie, please do so first!
I am back. Apologies for the long gap since my last post but I have just completed university and really wanted to prioritise my last few months both pre and post uni to fill my time with friends, family and film watching as oppose to my film blogging.
With that, I thought I would bring a new approach to the film blog and I really have missed not writing this. I am happy to be back and should be continuing the erratic (and frankly infinite) 52 week film challenge in the unconventional way that I started - using it to generate films as oppose to sticking to the constricting nature of one blog a week. Sometimes it gets too crazy. I feel like I wang on too much about how "I apologise for the delayed blog post.." or "I will be getting back to the structure of this challenge.." etc, however I do feel a responsibility to lay put my plans for this site as it grows and develops so I feel it must be iterated to you, the reader.
I did in fact write a completely separate blog which was my comeback piece based on Greta Gerwig's previous mastery in 'Frances Ha' and how important the film is to me at this stage in my life, yet I just have so much to say about Barbie.
Source: Warner Bros. Pictures
Did I see the film 6 times in its first 6 weeks of playing in cinemas? Yes, yes I did and it was glorious. I have 2 more planned trips to see the film and I cannot wait. The film is an experience and a masterpiece. What has been crafted by the cast and crew is so monumental and important in not only the sphere of the society we live in today, but in the landscape of cinema. On 4th September, statista reports that it has instantly become the biggest debut ever for a film directed by a woman, collecting more than 612 million U.S dollars at North America box office, whilst garnering a total of 1.43 billion U.S dollars.
As we all know, Barbie is a cultural icon with a legacy spanning 60 years. Greta Gerwig who directed and co-wrote the film with Noah Baumbach, describes how as young children; 'we learned to understand ourselves through play.' It is this message that runs throughout the story and journey of Barbie within the film and simultaneously presents the challenges that come with the experience of being human.
The world of Barbieland created for the film is truly magical and so breathtaking to see on the big screen. Gerwig collaborated with Sarah Greenwood as the production designer and really brought the soul of Barbie to life. The glorious Margot Robbie who also works as a producer on the project has highlighted the level of detail that went into every aspect of Barbieland, from the shower having no water, details in the outfits designed by Jacqueline Durran, to the little touches added to the Dream House - the list goes on. Yet what is the most incredible through it all is the tangible nostalgia felt through the screen. There is a playfulness to Barbieland that only finds its root in the undeniable childhood bliss of playing with Barbies.
Source: Warner Bros. Pictures
Ultimately, it stands as the complete contrast to the real world and functions perfectly as the template for Ken to 'start patriarchy fresh,' ripping the heart and soul out of this gorgeous world. The use of a soundstage was critical in building this world and also ties into the influence of Old Classic Hollywood films Gerwig drew reference from when writing the script such as 'Singing in the Rain.' Scenes like the transportation sequence relied solely on methods used by those of Old Hollywood films including a pull system to draw the set across the film and in a world of CGI with the threat of AI supposedly taking over the industry, it is refreshing to see this technique being reused for a film like Barbie. Whilst effective in showing Barbie and Ken's journey to the real world, it still evokes that feel of childlike play.
Source: Warner Bros. Pictures
It is very clear that the main message of Barbie is what it means to be human. From this, the film's created a clear divide between those who feel liberated and empowered by the film and those who haven't seemed to agree with the message the film is portraying. Through Barbie's journey and Robbie's stunning performance as the famous icon, she learns what it means to exist as a woman through her role as stereotypical Barbie. In this meta way, her character is used as a technique to evaluate what it means to be a woman in the modern world. Upon leaving Barbieland, she discovers how the patriarchy operates in our current climate and the importance of what she wants out of the world we live in.
What the film succeeds best in doing, is examining the various circumstances and methods in place by our current society that threatens a woman's sense of security in the world. Gerwig expresses that particularly for women in this current climate, 'the bar is consistently moving,' women in our world are constantly making breakthroughs within the patriarchal structure of society, yet we are taught that we haven't yet earned our place in the world until we do something extraordinary with our lives. still Gerwig makes a crucial point within the film that many seem to miss - which is that this feeling of despondency applies for men living in this world too.
Source: Warner Bros. Pictures
Whilst the current landscape places proximities on women's achievements, men are also taught they need to be the best they can be in order to define themselves in this world and the character of Ken performed magically by Ryan Gosling is used as the perfect method to reflect this constriction. The start of the film presents Ken as a co-dependent and clingy individual whose life would mean nothing without Barbie whilst at the end of the film during his breakdown, he states "there is no Ken without Barbie." His character goes on a journey of discovery in the same way Barbie does in that he learns to accept that his place in the world is not reliant on that of Barbie and that he needs to figure out what truly makes him Ken. Overall drawing to the conclusion that collectively we need to work together to educate and build a compromise for all so no one is left feeling inadequate and devalued.
Source: Warner Bros. Pictures
Barbieland is incredibly inclusive and represents a range of individuals, Alexandra Shipp describes the importance of young girls being able to see the vast array of jobs that women can do by all different types of women; this is evidently presented by Mattel dolls, yet seeing it on the big screen is just as vital. Although Barbieland is the most harmonious and supportive of places, the one thing the film lacks which it could have done very easily, was discuss intersectionality. "Intersectional feminism takes into account the many different ways each woman experiences discrimination. “White feminism” is a term that is used to describe a type of feminism that overshadows the struggles women of color, LGBTQ women and women of other minority groups face. So, essentially, it's not true feminism at all." Kimberlé Crenshaw who coined the term intersectionality back in 1989, recently discussed that "it’s basically a lens, a prism, for seeing the way in which various forms of inequality often operate together and exacerbate each other. We tend to talk about race inequality as separate from inequality based on gender, class, sexuality or immigrant status. What’s often missing is how some people are subject to all of these, and the experience is not just the sum of its parts."
The film would have been so much more in depth with its discussion surrounding what it means to be a human within the world right now, if it was able to examine the discourse surrounding intersectionality and be a progressive step in the direction of opening up many more discussions within popular media. Whilst suggesting this would have been incredibly crucial to the film, I do understand there are time constraints and perhaps not giving this enough time within the film could have had worse responses than those it has had in the absence of discussion.
What the film does perfectly, is critique 'girl boss feminism' whereby a woman only earns respect through their job and where 'a woman's professional success = feminist success.' As previously discussed, the film succeeds in representing how much of a struggle it can be for women to earn respect within the world and this critique of girl boss feminism strongly echoes that.
Source: Warner Bros. Pictures
Another thing to be mindful of is that while exploring feminism in the modern age, one needs to also address the expriences of those within the LGBTQ+ community. There is very limited conversation on the challenges faced by those within the LGBTQ+ community and in this period of such significant discussion, it is important this is reflected in the film. Williams argues this was Mattel's way of remaining politically neutral and I feel if included, Gerwig may not have been able to make the film she did without their support, yet it is disheartening that this was something left out of the integral conversations in the film. Many have suggested that both Allan and Weird Barbie are queer coded and through their experiences are there to represent the LGBTQ+ groups within the film, yet without this being explicitly stated it seems a bit assumptive to jump to that conclusion just because they seem different to the other Barbie's and Kens.
The mother and daughter relationship is something the film encapsulates in all its beauty; being a product targeted at young girls, created by a mother for her daughter, it is evident that this needed to play a crucial part in the film. It was so unique to perceive Sasha's initial distaste of Barbie when she meets her at school and was a really concise way of Gerwig making a nod to the disapproving aspects of Barbie as a cultural figure. It's pretty certain there are not many dry eyes in theatres when the plot reveals Barbie has come for Gloria played by the incredible America Ferrera, yet the beauty lies in the journey the pair go on through meeting Barbie.
Source: Warner Bros. Pictures
By presenting Sasha's disapproval for Barbie at the start, it offers a contrast to her shift in attitudes when she perceives her mum standing up to help Barbie restore Barbieland back to its glory. Of course America Ferera's monologue within the film is critical both in reflecting the themes discussed, but also as it presents a transference in her claiming back the power she says has women have been told to suppress. Through claiming this back and educating Barbie on how to navigate her feelings of inadequacy, Sasha sees the beauty in her mother standing in her power and that is breathtaking to witness. Gerwig highlighted that through playing with dolls as kids we learn things about the world and here is the ultimate example of that when by seeing her mother learn to stand in her power, Sasha can begin to stand in her own.
Another level to this is that Sasha helps Gloria on this journey too, convincing her to go back to Barbieland and join the effort of restoring the harmonious world. She also helps Gloria approach her boss at the end of the film and pitch 'Normal Barbie.' That in itself makes nod to the struggle she discuses in her monologue of moving forward in life but still feeling inadequate. Even though order is restored in Barbieland, work stilll needs to be done and this is ultimately echoed in Gloria's initial uncertainty to speak with her boss.
The character of Ruth within the film states that "we mothers stand still so our daughters can look at how far we have come." In the most simplistic way, Ruth is the mother to Barbie, and seeing her state this to Barbie before she decides to take the leap of becoming a human is so bittersweet - whilst also linking to Sasha and Gloria's relationship. Gloria has stood still in her position for so long and perhaps now is the time for this cycle to end. They can help each other so no one needs to stand still anymore.
Source: Warner Bros. Pictures
Both Allan and Weird Barbie (portrayed by the brilliant Michael Cera and Kate McKinnon) are fundamental to Barbieland as they represent those who feel as though they don't have a place. Aside from being one of the most familiar Barbies we all know and love, Weird Barbie is the one who somewhat breaks the rules and embraces living outside the norm. She is completely at ease with the traits that make her different from the others and offers a place for those that feel lost like her as discontinued Barbies, a place to live in peace. The only time people go up to visit Weird Barbie is when the world is falling apart for themselves and through the gossip mill of Barbieland; it is clear many have heard stories before actually meeting her. The fact she is the one who helps the Barbie's at the end is a full circle moment capturing how the initial judgement towards her position as 'the unknown' was predisposed and unnecessary.
Like Weird Barbie, Allan doesn't fit in with the other Kens. He seems to act as an emotional support animal for the others and never really gets to have his voice heard. Once Ken returns from the real world, Allan helps the Kens with establishing the patriarchy yet feels uninclined to do so. He struggles with choosing a side to be on and in many ways represents the men out there who disagree with the patriarchy, want to help support and uplift women yet are afraid to be sidelined by the men in their groups. Allan at his core represents the effort to help enact positive change yet the fear that rises from that and it is so delightful to witness him have his moment of glory in his fight scene towards the end of the film.
Source: Warner Bros. Pictures
Barbie is not a 'man-hating film' and whilst Ken got the fun song and dance at the end all about his place in the world, Barbie's journey is so much more impactful. Not only has she discovered what it means to be a woman in the world, she has learnt about what she wants out of life, how she can help educate those around her and claim back the power she truly deserves. Whilst in the end Barbie is still left apologising to Ken and emotionally supporting him through his breakdown - something you would think she wouldn't need to do after all the work she does during the film, it is clear she is standing in her power. For the first time she rejects Kens advances whilst also recognising everything can't change overnight. When once before she would have supported Ken through every ounce of his breakdown, now she has the confidence to support him whilst separating herself from the situation. It presents her growth through everything she has learnt and the moment was crafted so delicately to ensure this development is shown in Barbie. Her journey is the ultimate victory lap. Whilst the Kens learn their place, they're still a bit ludicrous and messy with their ambitions at the end. They have a song and a dance to resolve their issues while Barbie has her moment to feel and breathe. Its breathtaking.
"I'm Just Ken" is also an essential mechanism in the film. Within our current climate men are often fed the idea to somewhat suppress the emotions they feel and 'man up;' by having this incredible dance number and song, we are reminded that in a world full of toxic - sigma male podcasts and hyper masculine gym-tok, it is okay to express how you feel and 'place that manly hand in mine.'
Source: Warner Bros. Pictures
I am so incredibly grateful to be alive during a time when I can witness cinema like this and it makes me so proud to be a woman entering film. Although there were a few things it could have done slightly better, the film has my heart and it has given me a newfound appreciation on making the most out of this life we have.
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Favourite bits from the film (I had to create a list because otherwise I would ramble for hours about this film):
- Midge.
- The Nobel prize sequence.
- The Barbie Supreme Court.
- The line "yay space!"
- The incredible dance sequence and party.
- Seeing Tanner the dog at Weird Barbie's house. I had that dog and I was obsessed with picking up those little plastic pellets (the reason for its discontinuation was it became a choking hazard and the magnet began to fall off the scooper causing yet another hazard to young children).
- Everything about Weird Barbie.
- Barbie's first tears shed.
- Ken visiting Century City and the ludicrously hilarious video montage he witnesses.
- The phrase "long-term long-distance low-commitment girlfriend."
- The getaway scene to Speed Drive by Charli XCX.
- Jamie Demetriou's line about a "podcast hosted by wise trees."
- The montage of the Barbie's deprogramming the 'brainwashed' Barbies. From this, the brilliant roar of laughter that rose from audiences over the Godfather moment.
- The anxiety expansion pack sold separately. I need an anxious Barbie doll in my life.
- Being in a British audience watching the 'Pride and Prejudice' clip pop up.
- The line "sublime!"
- The montage of women crafted by the cast and crew (see below).
- What Was I Made For by Billie Eilish - and the uncontrollable urge to ball my eyes out the minute the chords start.
- The Birkenstock appreciation.
- The entire soundtrack.
Barbie Facts
1. Barbie is 23% larger than everything in Barbieland to mimic the awkward, disproportionate scale that real Barbies and Barbie activity sets are produced in. This is why Barbie sometimes appears too large for things like her car or why ceilings seem to be too low in the Dreamhouses.
2. Barbie's real full name is Barbara Millicent Roberts. In the film, Barbie's surname was changed to Handler for the film after Ruth Handler, creator of Barbie.
3. As Allan fights the construction Kens, he quotes the taglines that appeared on his box when he was first released: "He's Ken's buddy" and "All his clothes fit him!"
4. Weird Barbie's fellow "weird" Barbies include: Earring Magic Ken (1993), Palm Beach Sugar Daddy Ken (2009), Teen Talk Barbie (1992), Growing Up Skipper (1975), Barbie Video Girl (2010), and Tanner the Dog (2006). Happy Family Midge (2002) also appears, but she lives in the Barbie Club Chelsea Treehouse next to Barbie's Dreamhouse instead of with Weird Barbie.
5. The reoccurring song Barbie sings is called "Closer to Fine" by The Indigo Girls. Its writer Emily Saliers says "that song is about not beating yourself up too hard to get your answer from one place... it's about being confused but looking for the answers, and in the end knowing that you're going to be fine." Whereas the reoccurring song the Ken's sing is "Push" by Matchbox Twenty. Its writer, Rob Thomas, saying "It's not about physical violence. It's about emotions and how somebody can push you around without even lifting a finger... In that song it's the guy who gets pushed around by a girl he's having a relationship with."
6. At the end of the film, the montage of women is footage of the actual cast and crew's family and friends. Margot Robbie identified the shot of the woman applying blush to her cheek as video she had personally filmed of a friend about to be wed.
7. Gerwig hired dancers to play the extra Barbies and Kens in the film. In terms of how they moved, she "wanted it to feel heightened but not like they're in a sketch." Linking back to the Old Hollywood films - the actors have such a specific way of always moving with direction.
Behind the Scenes Shots from the film:
Source: Warner Bros. Pictures
Source: Warner Bros. Pictures
Source: Warner Bros. Pictures
Source: Warner Bros. Pictures
Source: Warner Bros. Pictures
Source: Warner Bros. Pictures
Barbie Videos