Of course, to give an opinion about something a person hasn’t seen or read has become an activity du jour, and it shouldn’t surprise anybody that it’s contributing to a further erosion of intelligent analysis and evaluation. In addition, evaluating film on purely aesthetic grounds appears to be an impossibility in today’s ideologically charged America. One can have some sympathy for this given that so many films today have either a component of ideology or are flat out preaching an ideology, presumably trying to gain converts. Gerwig’s “Barbie,” however, is an undeserving target for this kind of knee-jerk reaction because the film is much deeper and much more delightful than the Right or the Left would lead you to believe. …

Although there are a few implicit and explicit commentaries on what Gerwig perceives as patriarchy, it never really enters into the realm of ideology. The fast-paced dialogue (co-written by Gerwig and her husband, Noah Baumbach) is tight, and the double meanings are never clumsy. In a rather new and refreshing way, Gerwig explores not only the playfulness of Barbie the doll, but also the meanings we attach to such objects. In addition, Barbie is a good vehicle through which Gerwig meditates on the idea of masculinity and femininity. Ultimately, however, Barbie wants to be a “human person”—a phrase Barbie utters on a few occasions. Gerwig’s film is delightful but it’s not just about Barbie. It’s about existential authenticity, and the choice to rid ourselves of plastic exterior.

[Interesting. I haven’t seen ‘Barbie’ and probably won’t until it hits a streaming service, but it’s worth considering this alternative POV. I’m most intrigued by Melonic’s assessment of it as a Garden of Eden analogy; ‘The Truman Show’ missed the obvious opportunity to explore that potential. Might be worth a look just for that reason alone. — Ed]