Beauty Kumari Shaw
Department of English, Banaras Hindu University
Varanasi, Uttar Pradesh, India
beauty.bhu095@gmail.com

Gerwig, G. (Director). (2023). Barbie [Film].Warner Brothers.

Greta Gerwig, a celebrated filmmaker, screenwriter, and U.S.-American actress, is renowned for her pioneering contributions to independent cinema. Notably, she is recognised for her innovative cinematic approach. Her films, which are mostly women-centric, critique society’s view of women and their dynamics. In a patriarchal society, it is difficult for women to raise their voices, or even voice their opinions at all. Feminist critics like Adrienne Rich, Hélène Cixous, Luce Irigaray, and Judith Butler have talked about women and their ever-changing identities in a patriarchal society. From being unable to participate in elections to holding seats in Parliament, women have come a long way. It has been an arduous journey from being silenced to finding a way to speak out. Adrienne Rich (1986) talks about the silence of women and says,

When those who have the power to name and socially construct
reality choose not to see you or hear you . . . when someone with the
authority of a teacher, say, describes the world. You are not in it,
There is a moment of psychic disequilibrium as if you looked in the
Mirror and saw nothing. It takes some strength of soul—and not
just individual strength, but collective understanding—to resist
This void, this non-being, into which you are thrust, and to stand
up, demanding to be seen and heard (Rich, 1986, p. 11).

Greta Gerwig has tried to bring to the fore the voices of women and include them in cinema. In particular, she has focused on the life of women outside of their domestic roles, to hold up a mirror to society’s backgrounding and objectification of women. For example, in a film adaptation of Louisa May Alcott’s (1868) novel Little Women, Gerwig has retold the story from an empowering point of view. She was able to portray some of the struggles faced by some women in the U.S. during the nineteenth century before women even got the right to vote.

In Barbie, released in mid-2023, Gerwig continues to push the boundaries of storytelling by exploring the complex themes of women’s identity formation and gendered societal expectations. Using sarcastic and witty storytelling and unique character perspectives, she invites audiences to question conventional notions of femininity and embrace the complexities of personal growth. The movie questions the idea of patriarchy and the idea of beauty standards set by society that lead to suffering and trauma among young girls and women. The movie, which takes place in a fantasy world, is a notable departure from her usual cinematic themes rooted in realistic and historical experiences. This fantasy world is a metaphor for the gendered bubble created by society encompassing all of the unrealistic and unreal expectations set for women. This essay critically examines Gerwig’s experimental adaptation of the iconic “Barbie” character, focusing on the film’s stylistic, thematic, and gendered issues through an analysis of the film’s exploration of inclusivity and its deconstruction of hegemonic beauty ideals.

The character Barbie holds immense popularity among children as a toy. Barbie dolls, of which there have been different versions, have generally been criticised for perpetuating unrealistic beauty standards and, thus, fostering insecurity among girls. Barbie’s influence has compelled many girls to aspire to emulate Barbie’s often unattainable Eurocentric physical attributes and slimness. In her latest cinematic venture, Gerwig manages to subversively challenge the beauty standards perpetuated by the Barbie franchise—despite working with them on the film. In what follows, I will show how Gerwig dismantles beauty myths and unrealistic beauty standards and challenges the expectations propagated by earlier iterations of Barbie. Furthermore, I will discuss how she highlights the importance of embracing individuality and pursuing one’s passions, rather than conforming to societal expectations. By doing so, Gerwig encourages a more gender-inclusive and empowering message for children, one that promotes gender self-acceptance and the celebration of diverse interests and aspirations.

The Use of Pink

Gerwig’s distinctive aesthetic approach is evident through her portrayal of a pink-dominated realm in the film’s opening sequence, particularly in scenes that depict women characters as powerful leaders, serving as a commentary on women’s characterization in society. The use of pink as a dominant thematic element flips the valence of a dualism that characterizes women as vapid, insipid, and submissive. This aligns with instances from popular culture where women in male-dominated domains have strategically adopted pink attire to assert their presence and combat dominant masculinity. Historically, in the West, children wore gender-neutral light colors. boys were associated with the color pink (the baby version of red, which was associated with Mars, the god of war), and girls with blue. Because of this, pink was considered a strong color, and blue was a delicate color. Around World War II, the gendering of these colors was flipped, and girls became associated with pink, which then became characterized as a delicate color. This history demonstrates how gendered associations are socially constructed. Ideating a color or assigning a color as weak is reductive. Yet, the stereotypical idea that girls love pink has led to mass-marketing of the color as a girl’s color, and the creation of predominantly pink girls’ toys, such as pink-dressed dolls. These days the color has come to be described as “a color of empowerment”, and “a color of our battlefields” among many women and feminists (Khan, 2017).  Pink is symbolized as the color of Breast Cancer Awareness representing empowerment and awareness. Another instance of flipping the scales on the pink color is the Bollywood film Gulaab Gang which talks about the upliftment of women and their struggles. The movie is inspired by a community led by women named Gulaab Gang which works against the prejudices women face in India. Another Bollywood film named Pink used color as a tool to break the color stereotype and convey the message of a need for autonomy and freedom for women. Greta’s strategy is thus not to break the stereotype of identifying a gender with color altogether, but instead of empowering it, and in extension, women and girls who are still associated with this color in contemporary society.

Fake Food, No Water

Barbie also serves as a cinematic reflection and critique of the representations of the ideal white Western woman since the late 50s. Visual metaphors employed within the film satirically challenge traditional notions of a perfect, white, western, middle- or upper-class woman. The daily donning of extravagant clothing, possession of luxurious possessions, and superficial aspects synonymous with the stereotypical Barbie humorously exposes the shallowness inherent in adhering to white, western patriarchal classist conventions. Gerwig cleverly underscores the shallowness of empty consumerism and materialism by juxtaposing mundane activities performed by Barbie, such as showering and meal preparation, without the essential elements—water and food—highlighting the vacuity associated with such notions of perfection. Through this technique, Gerwig challenges the unrealistic standards imposed on many women by modern society, exposing the emptiness behind the pursuit of physical and material perfection through attainment. By stripping away the necessities of life, she reveals the hollowness that lies beneath the surface of these idealized images.

Arched Heels

The film’s emphasis on arched heels symbolizes the heightened expectations thrust upon women from a young age, pressuring them to conform to societal standards of beauty. These expectations are openly acknowledged and critiqued by a young woman who rejects Barbie dolls for imposing these unrealistic ideals upon girls. This scene pushes the audience to challenge the notion that women should be defined solely by their appearance, rather than accept these standards as precedence, and encourages young girls to embrace their individuality and self-worth beyond societal expectations. Interestingly, the girl and her friends are meant to symbolize Bratz dolls, which have been more diverse and inclusive than Barbie dolls and do not idealize Eurocentric beauty standards. By rejecting the doll, the young woman becomes a symbol of empowerment, inspiring others to question and redefine traditional beauty standards. Moreover, the film critiques Barbie’s parameters, through a pivotal moment when Barbie’s arched heels transform into flat ones, reflecting on how ever-evolving feminist ideals influence our acceptance/rejection of beauty standards. The film’s portrayal of Barbie’s journey serves as a powerful reminder that true empowerment comes from embracing one’s authentic self, rather than conforming to unrealistic and restrictive standards.

Lack of Intersectionality

The issues of inequality and misrepresentation have called for the attention of critics and scholars to talk about intersectionality inside out. The term “intersectionality” has been used to define the issues of inequality and inclusivity, especially in terms of feminism. One such critic from the Black community Kimberle Crenshaw has defined intersectionality as a term to speak to the multiple social forces, social identities, and ideological instruments through which power is expressed and legitimized (Crenshaw, 2017). Critics argue that the film’s approach to intersectionality, especially concerning (feminism is superficial. In an article written by Yulissa Chavez, he argues that Barbie fails to recognize intersectionality although it is aesthetically pleasing it lacks the representation of intersectionality especially in relation to feminism (Chavez, 2023). It fails to include other women who are not white, especially when it comes to speaking for inclusivity and saying that “All women are Barbie”. In another article, Feminista Jones argued the ridiculous notion of making a black woman president in the film for a show of pseudo-inclusivity. The film has all the while talking about white women and women with accents; it has failed to address issues of misogyny and racism (Barbie Movie,2023). While there are diverse characters, the experiences of these characters aren’t deeply explored. The film doesn’t delve into how race, class, and other identities intersect with gender in shaping people’s experiences. Gerwig has been criticized for her brand of white feminism and her agenda of “popular feminism” or the inclusion of more women by using “media-friendly methods” (Warner, 2023). For example, the film asserts that “All women are Barbie, and Barbie is all of these women,” which fails to acknowledge the different experiences that women have. For instance, there’s no mention of how a Latina Barbie or woman might face different challenges than a white Barbie or woman, even though the film features a Latina actress. In particular, critiques have pointed to the different experiences women of color have which are completely ignored in the film. Yet, marginalized identities have not been altogether ignored. The pregnant Barbie, whose name is Midge, apparently is cast out of the Barbie society because she is not an “ideal” Barbie. Yet we see that Mattel apologizes about her discontinuation towards the end of the. The reason that this Barbie was discontinued was because parents felt that it encouraged teenage pregnancy among girls. Women with additionally marginalized identities face discrimination in the real world. While this hasn’t been altogether ignored Gerwig, she arguably fails to acknowledge systemic oppression and its impact on women from different backgrounds.

Ruth’s Monologue

The film concludes with a poignant monologue by Ruth, the character representing the creator of Barbie, acknowledging the established beauty standards attributed to her creation. Ruth’s statement encapsulates the film’s core message: women need not conform to a prescribed aesthetic and their opinions should be respected. Gerwig’s fantastical realm mirrors real-world gender issues, offering a different perspective on and alternative solutions to these persisting inequalities. By presenting Ruth’s monologue, the film highlights the importance of embracing individuality, encouraging women to define their beauty standards to aspire to. Gerwig’s creative approach serves as a powerful reminder that societal norms can be questioned and redefined, ultimately paving the way for a more inclusive and accepting world.

In summation, Barbie dismantles the ideals established by earlier iterations of the character, affirming that women are not obligated to conform to prescribed standards of beauty or objectification. The film promotes inclusivity and challenges traditional gender norms, underscoring Gerwig’s ability to address pertinent issues through her distinctive cinematic lens. By presenting a diverse range of characters and storylines, Barbie tries to convey the message of body positivity and celebrate differences. Gerwig’s thought-provoking approach highlights the importance of breaking free from societal expectations and embracing a more authentic self, fostering a society where everyone should feel valued and accepted.

References

Alcott, L. M. (1868). Little women. Penguin Books.

Kermode, M. (2023, July 23). Barbie review: Riotous, candy-colored feminist fable. The Guardian.https://www.theguardian.com/film/2023/jul/23/barbie-review-greta-gerwig-margot-robbie-ryan-riotous-candy-coloured-feminist-fable

Chavez, Y. (2023, September 6). How representative is “Barbie”? Lone Star Parity.https://www.lonestarparityproject.org/post/how-representative-is-barbie

Chowdhury, A. R. (Director). (2016). Pink [Film]. IMDb.

Crenshaw, K. (2017). On intersectionality: Essential writings. New Press.

Gerwig, G. (Director). (2023). Barbie [Film]. Warner Bros.

Jones, F. (2023, August 9). Barbie movie: One Black feminist’s perspective. Patreon.https://www.patreon.com/posts/barbie-movie-one-87420795

Khan, A. (2021, June 27). The color pink: The color of our battlefields. Feminism in India.https://feminisminindia.com/2017/06/27/color-pink-gender-stereotypes-essay/

Stehnova, B. (2021). Greta Gerwig’s movie adaptation Little Women and its relevance to the current society [Doctoral dissertation, Masaryk University].

Rich, H. (1986). Blood, bread, and poetry: Selected prose.

Warner, H. (2023). “An indie voice for a generation of women”?: Greta Gerwig and female authorship post #MeToo. Feminist Media Studies, 24(2), 292–306. https://doi.org/10.1080/14680777.2023.2196605

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