First shock: queue. the screening was sold out at a nearby small neighbourhood cinema with a queue up to the front door. Second shock: pink! most of the people queuing were smiling and taking selfies while wearing pink pants, pink dresses, pink hills, pink bags, pink hats, and pink shirts. Everything you could lay your eyes on was pink; shocking pink instead of the usual Berlin black. Third shock: anticipation. Such palpable excitement in the air, since the last episodes of Harry Potter or The Lord of the Rings. While the ads and trailers glimmered on the screen, it felt like Christmas Eve. Everyone was trepidatious and eager to unbox their present: Barbie! This 145 million USD Blockbuster is directed by Greta Gerwig and produced by the toy company Mattel. It was released worldwide on July 21st 2023, following a hammering and pervasive promotional campaign, for adults rather than children. Social media, stores, and even offices were flooded with Barbie-themed content, collections, and events. The aim of this Barbenstein? Rebranding as a feminist, the most famous plastic doll which, in the past 70 years, more than anything else, has embodied the worst sexist stereotypes of Western society. But how to realize such an ambitious project to boost Mattel’s sales?
The concept is quite smart and banal at the same time. Stereotypical Barbie (Margot Robbie) enjoys her perfect life in perfect Barbie land with the other perfect Barbies and perfect, but superfluous, Kens. In Barbie’s life, Ken (Ryan Gosling), which is leading the movie with a great performance, is superfluous. Barbie discredits his feelings continuously, instead, she throws parties, goes to the beach, and even does politics until she starts thinking about death. From that moment on, everything goes wrong. Her heels become flat, she gets cellulite, the water from her shower becomes cold and her morning toast gets burned. She even falls off her balcony when flying directly into her car as usual. What a disaster! Apparently, the only way to solve it is by going to the Real World and meeting the girl who owns her, to understand what’s happening and face her problems. Despite her reluctance, Barbie takes on her task and embarks on the trip. As only companion Ken (Ryan Gosling), who is determined to win her heart. Once in the real-world, things are very different from what expected: little girls don’t hug Barbie, they don’t tell her how much they love her and how important she is to them. Quite the opposite in fact. They hate her and don’t play with her because “she has been making women feel bad about themselves since ever!”. In the meantime, Ken finds out about patriarchy…
Oh patriarchy! What a revelation. For the average spectator consuming mainstream movies though. Rather than for Ken, who actually unconsciously knows its dynamics very well since he has been living all his life in a Barbiearchy. A society in which people of another sex (in this case males) are suppressed and objectified. A place where your value is based on your appearance and your social status, where human relations and feelings seem to be despicable, and where it’s fun to despise Midge, the pregnant Barbie (who cannot even be called Barbie). And here comes the twist. If on the one hand, in Barbie director Gerwig succeeded to addresses contemporary machist power structures in a very placative and accessible way; on the other hand, it’s clear why she has been swamped with critiques of purple washing (political and marketing strategies that opt for a supposed commitment to gender equality).
To a certain extent, the movie can be seen as an ironic “crush curse” about patriarchy; which are quite rare to encounter in Blockbusters. Movies addressing the topic are usually rather art house productions and seen by a very specific niche of audience. However, Barbie is a corporate project, a spin-off to sell more merchandise of existing products like Marvel movies, Star Wars, etc. It is part of Mattel’s desperate attempt to rebrand Barbie and boost its sales. Barbie land is not a feminist utopia where women are liberated and everyone has the same rights. Because in the end, Barbie can be an astronaut, a president, or a Nobel prize winner, only because she does not have children nor feelings for others.; she must be a “man”. Barbiearchy is the real world, just that instead of men you have women. Power relations do not change. It’s a nightmare, fast fashion feminism for dumbs!
However, Gerwig is a master! The proof is her ability in directing such a complex movie, not only politically charged but extremely complex, production-wise. So even if the whole commercial strategy is quite pathetic, it’s undeniably effective. Rarely people have been laughing so much at the movies. And even the most sceptical spectator will leave the room wondering if Barbie isn’t actually the activist for female rights we have always dreamed of: ironic, accessible, popular, and smart. A big contribution to this real brainwash, is given by the hyper designed set. It’s so accurate and full of details, that it immediately sparkles the ‘80s – ‘90s nostalgia, ongoing on the big screen for a few years. The truth is that Gerwig is playing with Barbie as much as any girl watching it has done growing up. Being the director of such a massive and expansive Hollywood production is a gift, that a young woman can usually only dream of. It’s like dreaming of a Barbie penthouse for Christmas at the age of 7. And yet Gerwig managed to direct such a movie before even turning 40. It’s undeniable that her Indy witty image has been exploited for Mattel’s goals. But in return, Gerwig got the playground she always wanted. After writing her first independent movies and getting attention for Frances Ha in 2017, Gerwig kept on collaborating with her partner Noah Baumbach. In 2019, the first success as director with Lady Bird, nominated to the Oscars, was then followed by Little Women in 2019. Since her debut, budget and responsibilities have been multiplying frenetically and probably will not stop here.
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