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Have you watched Barbie yet?! Probably the most watched movie of the year! All shades of pink, no trace of grey.
This scene holds the essence of the movie in itself. Of course there is a great debate still going on, on what is the essence of Barbie. Let’s read from The Guardian:
Writer-director Greta Gerwig’s cinematic reinvention of Mattel’s most (in) famous toy comes on like a sugar-rush mashup of Pixar’s Toy Story 2, Carlo Collodi’s Pinocchio, the cult live-action feature Josie and the Pussycats and the Roger Ebert-scripted exploitation romp Beyond the Valley of the Dolls. It’s a riotously entertaining candy-colored feminist fable that manages simultaneously to celebrate, satirise and deconstruct its happy-plastic subject. Audiences will be delighted. Mattel should be ecstatic.

After a heavily trailered 2001-parody opening, we move to a pastel pink haven in which, “thanks to Barbie, all problems of feminism and equal rights have been solved”. This is Barbieland – a fantasy world in which big-haired dolls can be anything (lawyers, doctors, physicists, and presidents), thereby inspiring equivalent feminine achievement out there in the “real world”. (“We fixed everything so all women in the real world are happy and powerful!”)
Without Margot Robbie this audacious flim-flam could well have fallen flat on its face.
Like a dreamy version of the nightmarish Being John Malkovich, everyone here is Barbie. Except the men, who are just Ken. Or Allan (a hapless Michael Cera). But mainly just Ken – an appendage without an appendage. At the center of all this self-referential fluff is producer-star Margot Robbie’s “Stereotypical Barbie” – a role so perfect that when Helen Mirren’s narrator makes a sardonic gag about the casting, no one minds. So it comes as a surprise when this habitually smiley creature finds herself haunted by thoughts of sadness, anxiety and death. Worse still, she develops flat feet and (whisper it!) cellulite – two horsemen of the Barbie apocalypse.


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