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-coloured 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, 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!”)
