«Barbie»: a clumsy social criticism or masterpiece? This is what our editors have to say

Luca Fontana

19.7.2023

Translation: Elicia Payne

«Barbie», the new film by Greta-Gerwig has everyone talking. Not just because of the controversial doll that spreads questionable beauty ideals, but also because of the film’s loud social criticism. Read on to find out whether the visit to the cinema is still worth it.

Let me start off by saying that my review contains no spoilers. Any information stated here is featured in trailers that have already been released.

Honey-blonde hair, azure blue eyes, strong eyelashes, an hourglass-shaped waist, ample bust and long legs: Barbie entered the stage of the toy world on 9 March, 1959, as if she had been moulded directly from supple synthetic resin. After all, Ruth Handler, co-founder of the Mattel toy company, not only wanted to create a self-confident female figure, but to redefine the role of women in society at the time. She could be an astronaut. Or doctor. A lawyer at the supreme court and businesswoman.

And of course a mermaid.

It’s probably this pretentious inconsistency that has made Barbie a pop culture icon ever since. For some she’s the strong woman who brings feminism into the world – for others she represents an unachievable beauty ideal which causes complexes for entire generations. To want to sum up the complexity, unruly and unapologetic, in a single film is beyond reason. Yet the actress, author and director Greta Gerwig has tried exactly that.

Did it work? Here’s what our editorial team have to say.

Natalie Hemengül: a pink balm for the soul

As a film novice who has never seen the most important films of our time, I probably shouldn’t write the following, but I will anyway: Barbie has what it takes to become a classic. The fact that I would at least like the film was to be expected, as I loved playing with Mattel’s plastic creations when I was a little girl. And yet, in retrospect, I didn’t just «like» it, I loved every second!

Why? Because «Barbie» conjured up this bitter mixture of fond memories from my old stairwell – where my Barbie dolls met those of my neighbour – and the zeitgeisty question of whether I, as a woman, am still allowed to find Barbie so great. The film delivers the answer in big fat letters: YES!

«Attention to detail» isn’t a strong enough phrase to describe the vivid world that set designer Sarah Greenwood has created. Her interpretation of Barbie Land surpasses anything my imagination could have wished for from this film. But the plot doesn’t fall short of the exciting backdrops and outfits either. With plenty of self-criticism and generously sprinkled humour, it entertains all viewers. I, for one, will definitely give the flick another watch on the big screen and, with that, continue to fret that it was a really long time ago that I gave my dolls away.

Luca Fontana: is it just an anti-men film? Not at all!

It’s a rare occasion nowadays that a film takes me by surprise. «Barbie» is one of them. Not because the characters go through unexpectedly profound character development (they don’t). But because Greta Gerwig succeeds in making a film which – despite some damn loud social criticism of a male-dominated society – doesn’t offend me.

Maybe because «Barbie» doesn’t degenerate into a pure all-out attack on the male world. Self-criticism, which is not used sparingly, ensures this. I even interpret the beginning of the film as a mockery of «false» feminism, which isn’t about gender equality, but in fact about the devaluation of men.

At the start Barbie Land is exactly that. For in the utopia where «all the problems of feminism and equality» have been solved – says narrator Helen Mirren with a wink from offstage – it’s exclusively the Barbies who hold all the positions of power. The attention-hungry Kens, meanwhile, define themselves only by being noticed by Barbies. «I’m just Ken and I’m enough, and I’m great at doing stuff» is indeed Oscar-worthy songwriting:

Greta Gerwig’s film gets a lot right, especially with its delightfully disarming humour. «I thought patriarchalism was about men on horses,» Ryan Gosling’s Ken blathers, «but the horses are actually an extension of manhood.» Ken had just found out that in the real world, it’s men, not Barbies, who take the lead. He’s even asked what the time is at one point – the time! – which ignites a great fondness for patriarchalism in him.

But I think «Barbie» is at its best when Mattel, the Barbie company that co-produced it, comes into the story – and in not one scene do they get away easily. «I love women», says Mattel CEO played by Will Ferrell, «I'm a son of a mother after all!» His board of directors, made up exclusively of men in their 50s, nods at him approvingly. While designing a new Barbie, he is currently determining what feminism means for the rest of the world.

Crazy, super-absurd and hilarious. The film is a definite must-watch.

Simon Balissat: Gerwig in pink instead of black and white, will that work?

Greta Gerwig is directing the «Barbie» movie. I couldn’t have been more sceptical. Gerwig is best known as an actress and screenwriter for independent productions. And now this acclaimed independent director is supposed to bring the Mattel puppet box to the big screen?! «That can’t be any good!», I thought...

.. and I was completely wrong.

The commitment of Gerwig (and her partner Noah Baumbach as co-writer) is brilliant. And not at all as daring as one might first think. Gerwig does what she does best. She tells the story of a protagonist who breaks out of her ideal but monotonous world – more or less voluntarily. A theme that was already dealt with in «Frances Ha» or «Lady Bird». Except the world of «Barbie» is bright pink and not black and white like the film «Frances Ha». And instead of fleeing Sacramento, the protagonist escapes from Barbie Land.

The comedy is less subtle, and rather from the «in your face» category, which it has to be because of the absurd setting. In times when misogynistic wimps like Andrew Tate or Jordan Peterson appeal to a (mostly male) audience of millions, big guns are needed. How ironic that the gun should come in the form of the doll that embodies Tate and Peterson’s supposedly perfect image of women. Stereotypes are skilfully built up here, only to be shattered again. Barbies, for example, are feminist icons at the beginning, while Kens are just poor male lapdogs – only to turn everything upside down in the second part of the film and paint the exact opposite picture.

Gerwig plays intelligently with all the clichés without making me feel beaten to death by the moral club. I raise my pink hat to the movie!

«Barbie» hits theatres on 20 July 2023. Runtime: 114 minutes. Age rating: 12.

Luca Fontana

Senior Editor

Luca.Fontana@digitecgalaxus.ch

I'm an outdoorsy guy and enjoy sports that push me to the limit – now that’s what I call comfort zone! But I'm also about curling up in an armchair with books about ugly intrigue and sinister kingkillers. Being an avid cinema-goer, I’ve been known to rave about film scores for hours on end. I’ve always wanted to say: «I am Groot.» more

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