With her radiant smiles and goofy-graceful physicality, Margot Robbie inhabits Barbie’s glamour and entitlement as effortlessly as she inhabits her hot-pink bell bottoms. Read our review of Greta Gerwig’s Barbie.
Greta Gerwig’s “Barbie,” an exuberant, sometimes exhaustingly clever piece of Mattelian neorealism, opens with an extended,homage to “2001: A Space Odyssey.” We’re at a drab early moment in the history of the toy industry; for too long, little girls everywhere have had only their sad, uninspiring baby dolls to play with — until now, at this fateful dawn-of-mannequin moment.
Whether or not Barbie has ever represented an advance, of course, has been fiercely debated since Ruth Handler created her in 1959.
Decades later, conversations around female self-image, representation, agency and empowerment have shifted, to say the least, as have personal and public attitudes toward Barbie herself. She has been attacked and defended, dismissed as a punchline and reclaimed as a pioneer. She has diversified with the times .
Tiptoeing into the spotlight on perfectly arched feet is Robbie as Stereotypical Barbie, whose self-mocking name and lead-heroine status are a handy example of Gerwig’s have-it-both-ways attitude. Although surrounded by Barbies of various shapes, sizes and colors, Stereotypical BarbieBarbie: white, blond and svelte, in line with our earliest, most lasting impressions of the doll formally named Barbara Millicent Roberts.
Perhaps that possibility will be taken up in future visits to what is already being mapped out as a full-blown Mattel cinematic universe. For now, this early adventure generates more than enough goodwill to sustain your curiosity and suspend, or at least temporarily overwhelm, your reservations.
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