Barbie

Year of release: 2023.     Directed by Greta Gerwig.             Starring Margot Robbie, Ryan Gosling, America Ferrera, Kate McKinnon, Will Ferrell, Michael Cera, and Helen Mirren.

If you saw the first teaser for Barbie, you may have thought the 2001: A Space Odyssey tribute was a one-off gag filmed just to promote the movie. You would have been wrong. Not to spoil the best surprises of the film, but the prologue telling the history of the world from the perspective of the Barbies is both hilarious and an ingenious homage to Kubrick’s masterpiece.

The homage is also thoroughly appropriate given the film’s epilogue where stereotypical Barbie (Margot Robbie) enters a new chapter of her life not at all dissimilar from man’s rebirth as the space child at the end of 2001. To drive the new life idea home, the final line is a funny zinger about the ability to do just that.

What if I also said there’s a “beach off” among the Kens that plays extremely similarly to the pie fight that initially ended Dr. Strangelove? Or a proud proclamation of the same dolls’ identities reminiscent of the most famous line from Spartacus? And what if in fighting the villain of patriarchy, two women communicate mentally, and one of their daughters refers to it as “shining?”

I am convinced there must be more Kubrick references in Barbie, and I’d happily see it again just to catch more of them, but the film delivers on so many other levels as well.

Gerwig and Baumbach’s story does almost nothing that I expected, and while the trailers hinted at similarities with The LEGO Movie, it is very much something different. When stereotypical Barbie discovers her perfect pink world with arched feet and hot, waterless showers falling apart with thoughts of *gasp* death, weird Barbie (Kate McKinnon) informs her she has to travel to the real world and find the child playing with her who has clearly become troubled by something, thus repairing the rift between their two worlds. Stereotypical Barbie just has to choose the Birkenstock over the pink heel, which to be fair, is a choice that not many Barbies would want to make.

If stereotypical Barbie is apprehensive about going to the real world, she is reassured when the other Barbies remind her that the invention of Barbie empowered young girls, letting them know they could be anything they want and not just mothers, and now as a result women hold all positions of power in the real world. And women everywhere will probably want to run up to her and hug her for initiating feminism and fixing all women’s problems.

“At least,” Helen Mirren’s narrator tells us, “That’s what the Barbies believe.” Helen Mirren also delivers my favorite joke in the film, turning an expected breakdown from Robbie’s Barbie into something hilarious, but I’m not spoiling that here.

The slap of cold water that is the real world shocks and appalls stereotypical Barbie while making Ken (Ryan Gosling) feel empowered and respected. A crash course on patriarchy thrills Ken, which he eagerly takes back to Barbieland to inform the other Kens on how they’re supposed to be subjugating the Barbies, riding horses, drinking beer, and watching The Godfather.

As an inverse of the real world’s patriarchal structure, Barbieland is a world where the Kens cannot be president, cannot have Supreme Court appointments, cannot hold high paying jobs, and exist purely for the edification of the Barbies. Since the Ken dolls were created by Mattel to be a companion for Barbie, it’s a very clever twist that demonstrates the toxicity of patriarchy that has plagued the real world for centuries. It reminds me of Aamer Rahman’s comedy bit about reverse racism only being possible with a time machine that would enable Africa to colonize Europe and inflict the abuses on white people that they inflicted on Black people for centuries.

I suppose it needs to be said given the absurd hatred Barbie is generating from right-wing incels for its wokeness, but a film that says we should build a society where women and men are treated equally with equal opportunities is hardly what I’d call woke. Although in a post-MAGA world, general human decency often is woke, so I suppose the label is not wrong, but the film’s basic feminist message is a beautiful thing that would have widely been accepted had not the alt-right gained so much traction in recent years. Nonetheless, the film’s box office success and glowing reviews are reason for hope.

Like Gerwig’s two previous films, Barbie is another example of Graham Greene’s maxim that movies should depict the world as it is and as it should be. While the subject matter here may seem far removed from Lady Bird and Little Women, there is a common thread of hope and decency that celebrates the beauty of love for what is true, noble, and good in the midst of an imperfect world.

Between Barbieland and the real world, there is so much good, and to the extent that the film has any villain at all, it is patriarchy. Patriarchy claims victims of the Kens, the Barbies, America Ferrera’s mother and secretary for Mattel, and Will Ferrell’s CEO of Mattel, who is not a villain copied from The LEGO Movie as the trailers suggested, but a well-meaning executive who wants to help girls and women while not realizing the ways he’s accepted patriarchal norms.

Ferrera’s third act speech that sets up the climax of the movie may be on-the-nose, but it exhibits the same passion a five-year-old girl has for her make-believe land with Barbies, and as a mom reconnecting with that same childhood passion, I thought the speech worked brilliantly.

Several reviews have commented on how Gosling steals the movie, but honestly, Robbie is just as good and gives him an equally clueless character to play off of. The two of them make for a great duo for a road trip movie that takes hundreds of unexpected turns.

Returning to Kubrick, Gerwig and Baumbach wrote a movie about human progress and relationships where our own inventions (patriarchy instead of HAL) plague us and hinder that progress until we can overcome them. It makes the 2001 framing story all the more fitting, and it shows how we can appreciate that journey through an obelisk and light show or a polarizing doll.

Personal recommendation: A-

Oppenheimer

Year of release: 2023. Directed by Christopher Nolan. Starring Cillian Murphy, Matt Damon, Emily Blunt, Florence Pugh, and Robert Downey Jr.

Bruce Wayne, as imagined by Christopher Nolan in his Dark Knight Trilogy, watches his parents be killed by a Gotham City gangster who turns out to have been hired by his later mentor Ra’s al Ghul. Bruce takes his childhood fear of bats and falling to create a superhero that visits those fears onto Gotham’s criminals. At the height of Bruce’s power, he builds a cellular spy network reminiscent of the Patriot Act to track his most dangerous nemesis, and he then takes the fall for that nemesis’ crimes to preserve peace in Gotham, laying aside his work as the caped crusader with feelings of guilt about whether he did the right thing.

Why I am talking about Nolan’s Batman? Because in the Nolan Cinematic Universe, J. Robert Oppenheimer is nearly indistinguishable from Bruce Wayne. Other than Wayne being a lapsed Episcopalian (commonly assumed knowledge among superhero fans) and Oppenheimer being Jewish. No comment on the casting of Cillian Murphy as a Jew.

I do not mean to sound glib or dismissive, but Oppenheimer, Nolan’s latest sprawling historical epic that plays with time and reckons with the potential end of the world, is essentially Batman Begins, The Dark Knight, and The Dark Knight Rises rolled into one three-hour film. That’s a factually neutral observation, not a criticism.

J. Robert Oppenheimer is a brilliant theorist who introduces quantum physics to the United States after studying it in Europe, alongside several Nazis. He’s selected to head the Manhattan Project, builds the first atomic bomb, later develops reservations about building more weapons of mass destruction although never expresses regret for the bombings of Hiroshima and Nagasaki, and then becomes a fall guy for the communist witch hunts under McCarthyism, all while being wracked by guilt over whether he destroyed or saved the world.

What makes Nolan’s presentation of this story engaging is the liberal cross-cutting from timeline to timeline, punctuating three phases of Oppenheimer’s career with comparisons to the other two. If the movie is too long (and it is by about 30 minutes), it’s never boring even as it becomes a relentless marathon of big ideas told with bigger gestures matched by Ludwig Göransson’s bombastic, swelling score.

As Oppenheimer, Murphy does a great job at capturing the stoic coldness typical of most Nolan protagonists. At their best (Christian Bale in The Prestige and Guy Pearce in Memento), Nolan protagonists are antiheros who meticulously construct their own hell through their obsession with their career or mission combined with their off-putting personalities. Oppenheimer is certainly no exception, burning bridges with authorities and fraternizing with communists, which includes screwing one, both of which combine to make his post-war crucifixion all the more of a foregone conclusion.

I was less interested in the kangaroo court that a political rival sets up to oust Oppenheimer as a petty act of revenge than I was in the film’s presentation of Oppenheimer’s willingness to go along with it over his guilt at starting the Cold War, or so he believes. If Bruce Wayne and Cooper (Interstellar) are Nolan’s most noble flawed protagonists, with Alfred and Leonard (The Prestige and Memento) being the most villainous ones, J. Robert Oppenheimer is somewhere in between. The common link is all these men obsess over something until they lose everything else.

Nolan is not a subtle filmmaker when it comes to political themes and philosophical ideas, as starkly contrasted by his masterful puzzle-making that provides easily missed clues, which build to a jaw dropping reveal. It’s why his best films are his ruthless revenge thrillers and his weakest are attempts at philosophizing and depicting a noble humanism. Oppenheimer has both elements, but it shifts back to the puzzle-making of his earlier films, and the philosophical ideas are less on the nose than they have been in other recent offerings of his.

The puzzle’s reveal and third act twist of Oppenheimer will be no shock to history buffs, but that doesn’t mean Nolan didn’t set them up masterfully. For those who don’t know who the villain is (I didn’t) I won’t spoil it here, but the performance by that actor is superb, and his reveal as evil and his downfall are masterfully handled. The downfall is slightly undermined by an on-the-nose moment when an intern reveals the senator who thwarted him was some kid from Massachusetts who wants to make a name for himself, “Kennedy. John F. Kennedy.”

For all of Oppenheimer’s masterful craftsmanship, it hits its viewers over the head with moments like that way too often. Some of them land the intended punch; some of them don’t. My favorite of such scenes was when Oppenheimer’s wife Kitty (Emily Blunt) is being grilled by Jason Clarke’s unethical lawyer and shows herself to be intellectually his equal if not superior. The most jarring of such scenes involves an interrogation about Oppenheimer’s ongoing affair with Jean Tatlock (Florence Pugh) as Kitty imagines their naked bodies thrusting in front of her and the entire tribunal for the Atomic Energy Commission. It’s so obviously Nolan’s first explicit sex scene and one of the only scenes in the film not from Oppenheimer’s perspective, that it comes across as more of a clumsy shock than anything else.

Not that the sex scenes in Oppenheimer weren’t necessary for the story. They all contribute to Oppenheimer’s assholery, which is an essential part of a Nolan protagonist, and the first sex scene provides Nolan an opportunity to introduce Oppenheimer’s quote from the Bhagavad Gita, “Now I become death, the destroyer of worlds.” It’s another on the nose moment, especially given the line’s repetition when the Trinity test is successful, but for the integration of Oppenheimer’s messy personal life with his equal messy professional and political lives, I thought it worked.

As the theorist who can’t quite connect with the real world, Murphy’s Oppenheimer fits very neatly into the Nolan Cinematic Universe. As he struggles at school with how to relate to a professor, how to manage his affections for various women, how to serve his country, and whether the world should continue building atomic weapons, the gnawing loneliness of yet another genius man pervades the film. A tense, humorous exchange between Oppenheimer and General Groves (a very good Matt Damon) right before the Trinity test highlights that disconnect, as Oppenheimer assume the near zero chances of setting off a chain reaction that annihilates the entire world will appease the general. While we never see the horror of Oppenheimer’s work, Nolan does make it known through descriptions of the Japanese and Korean casualties as well as Murphy’s depiction of Oppenheimer’s breakdowns and imagining of his friends suffering the same fate.

At the center of the film is a tragedy, and rather horrific one at that, as Nolan’s lonely genius reaches out for connections in the most explosive ways possible finding the same hole that forms a link throughout so much of Nolan’s work.

Personal Recommendation: B