Barbie movie review: Barbie movie is being imagined in the Margot Robbie-Ryan Gosling movie for a time where asking questions is more essential than having patience for responses and where options are always either/or.
In a world where women are taught they can be anything, too frequently they still have to be dolls as well, as Natasha Walter, the author of Living Dolls: The Return of Sexism, recently stated. Be flawless and organised at all times, as required.
The opposite is also attempting to be true in Barbie movie, who was created by Mattel, the company that gave us the namesake doll in the first place: now that there is a Barbie who can be anything, she must also be a woman. Dolls should be found in our women, or should we hunt for women in dolls? Feminism has undoubtedly advanced past this point.
Details of Barbie movie namely Movie Name, Director, Starring and Story line
Movie Name: Barbie (English)
Director: Greta Gerwig
Starring: Margot Robbie, Ryan Gosling, America Ferrera, Kate McKinnon, Issa Rae, Rhea Perlman, Will Ferrell
Running time: 114 minutes
Storyline: When the ideal doll begins to display human flaws like cellulite and death-related thoughts, it is time to get out the big, pink armaments.
The talented Greta Gerwig’s film, which she co-wrote with her partner Noah Baumbach, aims to reinvent Barbie for a time when asking questions is more important than having patience for explanations and where options are always either/or: a stiletto or a Birkenstock, a Ken or a can be, patriarchy or the war of the genders.
The movie is still about the “stereotypical Barbie” finding herself; she is slender, tall, and gorgeous. Not the Weird Barbie dressed as a clown, not the President or Doctor Barbie, and not the pregnant (and discarded) Barbie. Gerwig sticks with the Barbie who will be received the most favourably in an effort to refocus the focus inward on the phenomena of the doll and its numerous reinventions to remain relevant.
The film’s best scenes occur when Robbie’s Barbie leaves Barbie Land and enters the “real world” after learning to her shock that she is gaining cellulite on her thighs and that her feet have become flat rather than arched like the heels she wears. It’s been “downhill” ever since she recently had death-related ideas, which in one scenario were really compared to cellulite.
Now Robbie’s Barbie has to venture out into the real world and discover what’s bothering the owner of her doll version, which through some sort of “space continuum” blah blah is rubbing off on her as well. When Ryan Gosling’s Ken joins them, Barbie quickly finds that, in contrast to what they have been told in Barbie Land, the production of dolls in the likeness of wealthy individuals who rule the globe does not imply that the real world has changed.
In contrast to Barbie Land, where the Kens serve as the Barbies’ mere appendages, men are in charge here. As a result, Gosling’s Ken is obsessed with what he discovers in reality. In the meantime, everything Barbie learns astounds her.
But almost as soon as the movie starts to focus on how a Barbie and Ken would fit in, in the real world, we are sent back to Barbie Land. Come accompany the genuine mother-daughter team who are the proud owners of Robbie’s Barbie doll.
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You can’t help but sense that the movie was heavily influenced by Mattel. While the movie raises uncomfortable questions about Barbie and what she represents or doesn’t for real women, it makes sure that the least uncomfortable ones are left in the background or are treated as weak gags.
Due to her established reputation from films like Lady Bird and Little Women, Gerwig is an inspired choice. Her influence can be seen in the subtle digs at the gender divide and the meta awareness that Barbie is, at her core, a thing of beauty to be appreciated. And unquestionably adored by many. It’s too slick for its own good when Helen Mirren, who plays the narrator, remarks that casting Robbie was the whole purpose of Barbie truly never being ugly.
The irony is that Robbie in real life is a wonderful illustration of the tone Barbie could have chosen. You may like the ambition of Robbie as producer and Gerwig as director in associating with a project that could have gone either way, and it does go right for the most part.
Never lacking in beauty is the captivating Robbie. She is never merely attractive. She fills your hearts with warmth while simultaneously inspiring wonder. You may look past her blond hair, boobs, and figure to identify with her in any way.
Gosling has a considerably smaller part, but his struggle as the unnecessary Ken plays out more satisfactorily. Gosling is an actor with latent appeal, like Robbie, who can swagger into a room and command it or let his woman do her thing.
Gerwig made a wise choice in casting these two charming performers as her leads. If only her Barbie and Ken were comparable to them—whether they were made of plastic or were magnificent.