In 2023, “Barbie” emerged as a cinematic juggernaut, achieving unprecedented success alongside Christopher Nolan’s “Oppenheimer,” creating the cultural phenomenon dubbed “Barbenheimer.” Grossing a staggering $1.4 billion, the film initially dazzled audiences with its comedic take on feminist themes. However, beneath its glittering exterior, “Barbie” reveals significant flaws that merit critical examination.
One contentious point revolves around America Ferrera’s character, Gloria, whose pivotal monologue has sparked debate. Addressing issues of feminism with blunt force, Gloria’s speech, while well-intentioned, disrupts the film’s narrative flow, diluting its message rather than enhancing it. Critics argue that this heavy-handed approach undermines the film’s attempt at nuanced commentary.
Another critique concerns the underutilization of key characters, namely Gloria and her daughter Sasha, portrayed by Ariana Greenblatt. Despite their promising introduction as anchors of humanity amidst Barbieland’s fantastical setting, their roles diminish as the film progresses, leaving their narrative arcs unresolved amid the spectacle.
The soundtrack, featuring Lizzo’s “Pink,” initially praised for its thematic resonance, now faces scrutiny due to the singer’s subsequent controversies. Critics contend that Lizzo’s inclusion, despite its initial impact, now detracts from the film’s message of female empowerment, reflecting poorly on the film’s longevity.
Furthermore, Ryan Gosling’s portrayal of Ken garnered widespread acclaim, overshadowing Barbie herself in many scenes. This unintended shift in focus underscores a broader critique of the film’s narrative balance and character development, suggesting missed opportunities in exploring Barbie’s own journey more deeply.
Critics also point out the film’s heteronormative portrayal of relationships in Barbieland, arguing that for a film championing diversity and representation, “Barbie” falls short in depicting alternative romantic dynamics beyond traditional norms.
Despite its commercial success, “Barbie” pales in comparison to “Oppenheimer” in critical acclaim and narrative coherence. While celebrated for its humor and cultural commentary, the film is not without its commercial undertones, often feeling more like an extended advertisement for the iconic doll rather than a wholly original cinematic experience.
In retrospect, “Barbie” struggles with narrative cohesion and worldbuilding, with Barbieland’s mechanics often confusing or distracting rather than enriching the story. These inconsistencies underscore the film’s ambitious but ultimately flawed attempt to balance satire, comedy, and social commentary within a singular narrative framework.
As discussions around “Barbie” continue, it remains a testament to both the potential and pitfalls of integrating cultural critique with commercial entertainment, sparking ongoing debate about its legacy in contemporary cinema.
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