Greta Gerwig’s Barbie is never dull and it is a triumph of Dream House production design with exquisite casting. Cowriting with her partner Noah Baumbach, the screenplay is home to some great gags and eventually some emotionally inspired sections. It stumbles occasionally in sketchy territory that seems more in place as a mid-level SNL sketch (with some of the show’s vets performing the material). With Margot Robbie as the classic or “stereotypical” Barbie and Ryan Gosling as a version of Ken who believes his profession is “Beach” (where he spends his days), their chemistry clicks as they explore lands ruled by matriarchy and patriarchy.
The comedy around them can sputter in one scene and pop in the next. This is a satire of corporatism and critique of gender identities that wouldn’t exist without that Mattel cooperation. It has its own well-worn cliches present about the Venus and Mars divisions. Venus is Barbieland here while Mars is the world we know. Gerwig and Baumbach are dealing with a tricky balance and the fact that this mostly succeeds is an impressive achievement.
We meet Robbie’s Barbie in Barbieland where every night is Girls Night (!) alongside President Barbie (Issa Rae), Writer Barbie (Alexandra Shipp), and plenty of others professionals. These women rule the joint while Ken and his fellow Kens (they include Simu Liu and Kingsley Ben-Adir) beach during the day and pine for their respective Barbies at night. In one funny revelation, it is said that the women literally have no clue where the Kens stay at night (they do not own dream dwellings).
Our lead Barbie’s blissful existence ends when she starts thinking of death. Soon her perfectly perched feet fall flat and cellulite emerges. These real world problems are due to Earthly interference. She doesn’t want to become like Weird Barbie (Kate McKinnon), whose physical traits resemble a demented child being creative with her doll parts. Barbie must travel to the Real World which she assumes puts females in the same leadership positions as Barbieland. Gosling’s Ken sneaks along for the ride.
Their journey introduces them to single mom Gloria (America Ferrera) and teen daughter (Ariana Greenblatt). Mom works for Mattel, which is entirely run by males including Will Ferrell’s CEO. She has her own ideas for Barbie iterations and that may be causing Robbie’s imperfections. While she deals with the patriarchy ruling the land, Ken revels in it and soon brings that superior attitude back to Barbieland. A buoyant battle for the sexes follows.
Barbie improves as it goes along. It manages to mostly earn the moving moments that populate the final act. I suspect some of the broader material could’ve been cut down. For example, Ferrell and his band of execs don’t really add much. Yet I dug McKinnon as the oddly configured Weird Barbie. This is an experience where we have Gosling stealing scenes with hilarity and Ferrera doing the same with heartier stuff. Robbie is in the middle of it and she is smartly cast (narrator Helen Mirren has a moment of snarky meta fun commenting on her incredible beauty). There’s plenty to ponder in the politics of Barbie, but maybe not thinking about it too hard is the way to go. The same logic can be applied to Ken’s out of place friend Allan (Michael Cera). He doesn’t really belong, but I enjoyed him. Same goes for the movie where our central character is figuring out where she belongs.
*** (out of four)
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