Films about toys are not new. We have seen it in the Toy Story quadrilogy, where the toys have feelings and know when they must move on. Neglect and misuse are other themes in those films, which try to bring the human side to the fore. These classic toy film themes find time in Greta Gerwig’s satirical directorial focusing on Mattel’s doll. So, what’s different about Barbie? Well, the director continues in the same vein as Ladybird and Little Women, with a coming-of-age story hidden beneath the layers. Additionally, it extols the principle of an idea being forever, as it can evolve to remain relevant.

Barbie charts a path of self-discovery for everyone involved. But it isn’t all laced with messages and dreary as it fuses sharp dialogue with plenty of colorful hues to provide a fantastic 114 minutes.

What’s good in Barbie?

Greta Gerwig panders to the masses with references to Zack Snyder’s Justice League, 2001: A Space Odyssey. Audiences even get to see The Godfather, The Matrix, and the yellow (pink) brick road that positions Barbieland as the Emerald (pink gemstone) city. Some can even view it as Noddy’s Toytown. The film is not just about Barbie. It sheds light on dreams, aspirations, and the real world, and Barbieland where audiences get to see Midge, Alan, and Ken.

Barbie is a visual delight primarily due to the Barbieland scenes. Right from the costume design (Jacqueline Durran) to the production design (Sarah Greenwood) and set design (Katie Spencer, Ashley Swanson), everything comes together to take the viewer on a journey to a place where every day is “the best day ever.” The bright colors, the intricately constructed Dreamhouses, and the bright costumes convey that belief even before Margot Robbie’s Stereotypical Barbie proclaims it.

The Australian actress’ turn as the titular doll was good. Right from the plastic existence in Barbieland to the infusion of humanness to the time in the real world, the Oscar nominee delivered. Helen Mirren’s quip about the casting choice worked only in terms of looks, but not in terms of expression and emotion. It would have taken something quite spectacular to overshadow Barbie, who made her entrance to Also Sprach Zarathustra. That’s the song from 2001: A Space Odyssey; some may even recognize it as Ric Flair’s WWE entrance music.

A film primarily about a doll, that may have been the staple gift to any elementary school girl, would have a specific target audience in mind. However, Gerwig knew she had to cater to the ones who accompany the target audience to the cinemas. She builds on the idea of the word anything that “Barbie can be anything” to do just that.

The writer duo of Greta Gerwig and Noah Baumbach deserve credit for the punches throughout the movie. The dialogues, right from Robbie’s “Do you think of dying“, to Aaron Dinkins’ query about the identity of a man not having power, and many more, will simply make you do a double take. Unfortunately, it’s brushed over rather quickly and isn’t allowed to linger.

The show stealer, though, is just Ken. The name associated with the face of the brand is written in a manner that allows him to find out who he is. Through discovering the patriarchy and implementing it in Barbieland, Ken’s Kendom allows the ideas in the film to come through. It is this conflict that challenges Barbies to be one, learn who they are in the face of a conflicting ideology, and embrace a new idea.

Special shout-out to Ryan Gosling’s “I’m Just Ken” and all his scenes post the interval. The man, who looked the part and embodied it seamlessly, showcased a side that made audiences feel for the very being that “set back the feminist movement by 50 years.” The scenes at the Ken Mojo Dojo Casa House also had a subtle indication of classic male predisposition.

What’s not good in this film?

Barbie’s first half truly set the tone for something remarkable. The world-building was good and the setup for the climax also was remarkable. However, the second half felt quite thin in terms of what could have been done. Ken’s song, while it was playing, appeared to be just stretching the film.

A way of looking at the third act of Barbie could be an understanding of how easy it is to shatter the patriarchy. There was no power struggle among the Kens, which should have been there to allow the Barbies’ plan to be a tad elaborate. Unfortunately, all audiences got was a feeble and amusingly choreographed fight/dance-off (don’t get me wrong. It was quite entertaining). Were they “beaching” each other for such a small reason?

While the infusion of critiques about a multitude of things makes it interesting to all ages tween and above, it loses sight of the target audience. Gerwig’s Barbie faces objectification in the real world. There are also lines with undertones that would not be suitable for all ages. Here, it is important to understand that the target audience wasn’t the really small children. As the trailer promised, the film has a takeaway for both the ones who like Barbie and the ones who don’t like Barbie.

Should you watch Barbie?

The colors really pop in Barbie. It has something for everyone, with all sections potentially walking away happy at the end. The climax was just brilliant and reminded me of King’s Cross from Harry Potter 7.2.

Dua Lipa’s ‘Dance The Night’ proves to be a foot-tapping number to set the mood for a roller coaster of thoughts Gerwig has in store. It could remind audiences of the classic musicals from the 50s and 60s, or even La La Land, starring Gosling.

Watch it for the message and to have a good time. This film isn’t stupendous, but it is enough to offer you an escape from reality. At the very least, it is a whimsical ride after watching the hard-hitting Oppenheimer ending for those going for the Barbenheimer marathon. And as one escapes from the real world and into Barbieland, they will be equipped with hints to view their reality through another lens. Anything else, yes. Watch it for just Ken. “It’s Ken” who takes the spotlight.