The screenplay is positively philosophical at times, as a self-conscious plot spins ever deeper into creative absurdity
, is wrapping this discourse around an advertisement for a multinational toy empire that makes billions flogging girls unattainable models of femininity.Does the film address this? Naturally. Gerwig and Baumbach are among the smartest American film-makers working today. In the opening scenes we hear that “thanks to Barbie” all problems have been solved. You can be Dr Barbie. You can be President Barbie. It’s all a bitter gag, of course.
So it’s as much an attack on Barbie as it is a celebration. Right? Well, not really. The product has been on everyone’s lips for the past year. Every promotion for the film is also a promotion for the toy. That comparison with the big con is not entirely fanciful. It’s also not entirely a criticism. Like the fanciest of scams, Barbie is carried off with a conviction that deserves sustained applause and occasional loud hoots.
The film begins in a plastic world apparently fashioned from giant versions of Mattel’s products. The swimming pool is painted over. The cars move without a noise. Just about every woman is a Barbie. Just about every man is a Ken . The too-perfect world shudders when – this is not really a kids’ film – our main Barbie contemplates death and finds her body taking on hitherto unfamiliar human traits.
The screenplay is positively philosophical at times, drawing distinctions between Barbie as individual and Barbie as genus. But there are also deranged car chases, game comedy routines and musical numbers that gesture to Bob Fosse. And there are moments of raw emotion – not least those involving Rhea Perlman as a reincarnation of the doll’s creator. So, yes, this strange, strange film is a big con, but it’s one you can’t help tipping a pink cowboy hat towards.
Who would have thought it would contain more existential musings on death than we find in Oppenheimer?
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