From Surf to Stereotypes: Unmasking the Barbie Phenomenon in Australian Culture

Review: Is ‘Barbie’ Corporate Propaganda or Malibu Metacommentary™? Why Not Both!

July 19, 2023 5:00 AM ET

Aisha Harris

Greta Gerwig’s Barbie, starring Margot Robbie, is a film that transcends the boundaries of a typical movie based on a beloved toy. Barbie, after all, has always been more than just a doll. With its iconic status and cultural impact, Barbie has become a symbol of empowerment, imagination, and societal expectations. In this review, we delve into the philosophical questions raised by Barbie, exploring whether it is corporate propaganda or a profound metacommentary on modern life.

The Symbolism of Barbie

Barbie has always been a toy that stretches beyond its physical form. From its inception, Ruth Handler, Barbie’s creator, had grand ambitions for this plastic woman. She aimed to challenge the limited roles imposed on women and provide young girls with the opportunity to imagine themselves in various professions and identities. Barbie’s symbolic malleability and ambition are at the forefront of Gerwig’s film, presenting a utopia called Barbie Land.

In Barbie Land, every version of Barbie lives blissfully, with countless possibilities for self-expression. The film challenges traditional notions of gender roles by portraying Ken, usually considered Barbie’s sidekick, as “superfluous” and of lesser importance. This subverts the patriarchal structures often associated with the brand. However, the film also hints at potential conflicts, suggesting that Barbie’s perfect world may not be as idyllic as it seems.

The Duality of Corporate Propaganda and Entertainment

Barbie, as a film produced by Mattel Films, undoubtedly carries elements of corporate propaganda. Mattel’s involvement raises questions about whether the film can effectively confront its own contradictions. However, it is important to remember that corporate propaganda can still be enjoyable. Gerwig’s film cleverly plays with the idea of Barbie as a game-changing product, expanding the horizons of playtime for young girls.

Moreover, Barbie’s existence as a corporate propaganda piece does not diminish its value as entertainment. The film embraces its role in promoting the Barbie brand while simultaneously exploring deeper themes and societal commentaries. The opening scene, reminiscent of the iconic “dawn of man” sequence in 2001: A Space Odyssey, sets the stage for an offbeat technicolor fantasy that aims to bridge the ideological gap between the brand and today’s consumers.

The Delight and Critiques of Barbie

Upon watching Barbie, it becomes evident that Gerwig and co-writer Noah Baumbach infuse the film with layers of ideas and metacommentary. The movie delivers plenty of jokes and features an enthusiastic cast, with Margot Robbie bringing Stereotypical Barbie to life with verve and bite. Ryan Gosling’s portrayal of Ken serves as a rumination on American masculinity, providing a satirical portrayal of societal expectations.

However, despite its successes, Barbie does have its limitations as a vehicle for substantial commentary. Some execution aspects may be seen as wonky, and certain monologues feel stilted or overly didactic. Additionally, the inherent conflict arises when critiquing a brand that is also the financial engine behind the film. Even the self-referential punches sometimes come off favorably for Mattel, burnishing the brand’s image rather than critiquing it.

A Feast for the Senses

Despite these critiques, Barbie remains an absolute delight and a visual and auditory feast. Sarah Greenwood’s production design is astoundingly sensorial, capturing the essence of Barbie Land with imagination and precision. The makeup team strikes a perfect balance in creating a sense of plasticity without crossing into the uncanny valley. The film also features engaging musical numbers and memorable cameos.

Barbie occupies an interesting space in the landscape of modern cinema, where pre-existing products often inspire ideas for films. While one may initially balk at the existence of such films, there has always been an inherent tension between filmmaking and commerce. Barbie, with its unabashed commercialism and heightened sensibilities, lays this tension bare for all to see.

A Final Verdict

In conclusion, Barbie may be seen as a manifestation of both corporate propaganda and metacommentary. While it embraces the opportunity to promote the Barbie brand and its ideals, it also explores deeper themes of identity, societal expectations, and the challenges of self-expression.

Whether one views Barbie as a cultural phenomenon, a reflection of Australian surf culture, or simply as a beloved childhood toy, Gerwig’s film offers an interesting oddity to witness. It may confound at times, but it undeniably immerses viewers in a Barbie world that is simultaneously captivating and thought-provoking.