IN Barbie Greta Gerwig, everything is rosy. And not just because of the gorgeous – and handcrafted – visual section that recreates the world of the title doll on a realistic scale. Also, because in the first minutes the film devotes time and effort to show the two-dimensional experiences of its protagonist. Barbie (Margot Robbie), lives in a perfect, perfect and flawless reality. Which, moreover, is created for your greatest pleasure.
But Barbie it’s anonymous. In any case, this is one of an infinite number of options for who he is as a person. The plot solves the problem of identity through the characteristics of the toy. There is no tomorrow, no past. Much less aspirations, a unique name.
What surrounds it is exactly the same, and the stability of this festive and innocent region lies precisely in this unchanging quality. The metaphor is obvious, but never recursive or use unnecessary underlining. Before that, the screenplay by Greta Gerwig and Noah Baumbach carefully explores the context surrounding the most valuable brand in the world. Mattel. What’s more, it does so from a special perspective of a parallel dimension.
Barbie
Greta Gerwig’s Barbie is a more sophisticated satire than its sweetened visuals would suggest. Perhaps the most interesting moment of the production, exploring topics such as individuality, the search for purpose, the perception of reality, and even death. However, despite its ambitions – and some of them – fulfillment, the plot stops halfway through, revealing that it hints at a critique of popular culture. Barbie shines in her most difficult moments, much more often than in her weakest ones.
IN Barbieland, the ability to wonder, curiosity, questions about reality, skepticism and pessimism are unthinkable. Indeed, the idea of an untouchable and boring layer of life Barbie it is a repetitive routine that repeats every day. The character is the center of the simple world, taking his place with grace and charm. There is only happiness, a constant demonstration that everything around makes sense to exist. Which, of course, includes dozens of other versions of him that the film constructs as a subtle mockery of popular culture and artificial optimism. In fact, the plot reveals the ingenuity of this timeless universe and is devoid of cynicism, adding black humor.
We are all Barbie and Ken
With a stellar cast, Barbie focuses all the energy of her first half hour on her journey through this island version of things. The plot then focuses on the fact that although Barbie there are dozens of professions, Ken just have fun. IN Barbieland, the premise covers everything that is done on a daily basis, how they perceive each other. None of its inhabitants think about anything but the continuous present, which the film details using all the resources at its disposal.
One of the highest points of the feed is using its overloaded visual section to leave a clear message. This is not a digital space, nor is it a mockery of the universe that Ruth Handler imagined to match her doll. The director manages to pull off subtle plot threads that start with a big statement of intent for the feminine, through her carefully crafted setting. Barbieland it has its own personality, meaning, as well as a mysterious oasis of reality. But at the same time, it develops, because it is not only inhabited by the main characters, but is also the space of their essential life.
Something that the film resembles from a well-constructed satire. For Barbie and especially Ken (Ryan Gosling), there are no nuances in everything. Thus, the shy but well-constructed parody of contemporary sexuality, vanity and prejudice comes across as edgy and surprisingly mature. Gradually, the film expands on its premise and has enough skill to create a sense of reality for its protagonists through puns and cruel jokes. barbieland, it is so unusual that there is nothing to think about it. Existence is serene, but, from Greta Gerwig’s point of view, it is also complex. It is enough for the slightest suspicion to cause an imbalance in his precarious balance and lead to a small catastrophe.
unthinkable risk
Which of course will happen when Barbie start asking existential questions that are beyond your experience. But especially the limits it inhabits. The script manages to convincingly create the experience of an alternative stratum. Very far from the perception of chiaroscuro, uncomfortable questions, or even a simple idea of life. Barbie it is a doll that does not know what it is. But also a small crack in the middle of the pink universe that could collapse.
Photographs by Rodrigo Prieto resort to a skillful visual section to show the transformation Barbie, slowly but inconveniently. By small daily cataclysms, the character understands that something in the serenity of his world is broken. Also, this little mishap is more obvious compared to the many versions of him that surround him.
Fragmented identity – multiple Barbie And Ken these are variants of the same idea – it becomes more relevant as the protagonist develops. It soon becomes a rare and hidden danger. Greta Gerwig is aware that internal changes manifest themselves on the outside. This is furthermore related to the idea related to the fact that Barbie understand about yourself.
In search of what is hidden in real life
It is then that the film manages to connect what concerns the classic doll with a very rare reflection of the inner search. The story, which in the first part has a sweetened fantasy mixed with irony, goes to a new level. Barbie need answers. She will find them by accepting that what has changed in her cannot be fixed. Especially after talking to Gymnast Barbie (Kate McKinnon), the most authoritative figure—intellectual and moral—in Barbie Country.
The narrative manages to delve into the unusual path of the hero and turn Barbie in a voice of disappointment. Which raises the dilemma of interest in their inner growth. What you are facing is not just finding that your environment does not satisfy your questions. Except that he had lived—until now—in a blissful sense of ignorance. For the MacKinnon character, there is only one solution – out of this world, in pastel colors and eternal smiles.
In clear analogy with Matrix Lilly and Lana Wachowski Barbie You must consider yourself the chosen one. So? The film plays with the idea of self-knowledge and claims of the individual. A character who knows only a universe of equals must now find what is hidden behind happiness. Which is also a denial. The adventure that makes up the most difficult section, with the most plot risk and perhaps the most disappointing movie.
Barbie is looking for her place
Once the decision has been made, Barbie what is by far the most difficult part of the argument will begin. At the same time, it is the most overloaded with symbols and the one that threatens the solidity of the film. The character must give up everything he knows and go in search of the truth. Which one? The script’s tongue-in-cheek gaiety turns the first contact with everyday reality into a series of little messages underneath something big. Barbie he must face vain, banal, and cruel human territory. In the same way, understanding that time is passing—that it is even real—implies a connection with the notion of death, old age, and fear of the future.
Barbie it’s a product, and the movie doesn’t stop remembering it. With an impossible standard of beauty, in an age that is starting to feel outdated, with increasingly nebulous ideals. But at the same time, it is the emblem of the generation to which he gave lessons without even knowing it. The Greta Gerwig film then pays homage to the girls who grew up with this toy. Those who recognize him at first sight, those who hate him and those who love him. The plot then expands to an ambitious breadth, which is perhaps its most obvious problem.
Lots of questions, little time at Barbie
The film wants to talk about machismo, misogynistic culture, new feminism, inner doubts, awareness of good and evil. Even such complex issues as corporate domination and corporate manipulation of the masses. But although he crosses all topics, he does not delve into any. Bye Ken satirizes the role of women in the real world – and subtly criticizes aesthetic pressure – Barbie discover that human existence is limited. At the same time, what he considered real is an incomplete copy of major events.
Despite this, the character is confronted with the idea of his fragility with a good storyline. She shines in her innocence and kindness. The one in the ordinary dimension that Greta Gerwig paints in gray and ugly tones with direct shots of garbage, broken streets, and an opaque sky. Also Kenwho followed his beloved on her big adventure because he couldn’t help it. Both are strange creatures, forced to plunge into despondency, sadness and even disbelief.
The power of great stories
May be Barbie, as a film, does not live up to all the expectations caused by its intense promotional campaign. But on its scale of thinking about identity — who we are and who we will be — it goes deeper than it might seem. At the same time, better built, more extravagant and free than many other films about personal freedom and self-discovery.
In its unusual conclusion – the announcement of the sequel? The Greta Gerwig record leaves a clear message. Kindness is not uncommon. Besides, it’s something old-fashioned. But especiallyBarbie it’s much more than it looks. A cultural heritage that is becoming increasingly important in all its diversity, energy and vision of a woman as a hero in her own world. The best message a production can provide.
Source: Hiper Textual
