by SONALI KOLHATKAR
The highly anticipated live-action film starring Margot Robbie is an attempt to redeem the problematic toy. But it’s really just an expensive ad campaign for an outdated doll.
A few months ago, my two sons, aged 10 and 15, told me they were excited to see the new Barbie film. I was surprised. They are not interested in dolls, and, in spite of Barbie being the top-selling doll in the world, they were not very familiar with the iconic toy until they saw an online trailer of the live-action feature film starring Margot Robbie and Ryan Gosling. Although I had played with a much-loved Barbie doll as a child, I had grown up to hate everything the doll stood for: dangerously unattainable beauty standards, the deliberate vapidity of femininity and feminism, and the centering of whiteness.
But, the clever marketing of the new film has people of all demographics eager to see it: “If you love Barbie, this movie is for you. If you hate Barbie, this movie is for you,” proclaimed the trailer. There should have been an addendum: “If you’re indifferent because you have no idea who or what Barbie is, this movie is also for you.” Because, ultimately the film is a giant commercial for an outdated toy. Its interminably long marketing campaign helped generate breathless anticipation for months.
Launched in 1959 and conceived by Ruth Handler, one of the co-founders of Mattel, Barbie was modeled on a German doll named Bild Lilli, marketed to adult men as a sort of gag gift. According to Brennan Kilbane, writing in Allure, “Bild Lilli was a single-panel comic character in a German tabloid—a sweet, ditzy, curvy figment of the male imagination, frequently losing her clothes and enjoying the company of men. Each punch line hinged on Bild Lilli’s hotness, her horniness, or her lack of common sense. When a police officer informed Bild Lilli that the two-piece swimsuit she was wearing was in violation of decency laws, she responded earnestly, ‘Which piece do you want me to take off?’”
Handler wanted to market an “adult” doll to little girls because the prevalent dolls of her time were either baby dolls or else they had, in her words, “flat chests, big bellies, and squatty legs—they were built like overweight 6- or 8-year-olds.” Apparently, Handler, who appears in the film as a wise elderly grandmother played by Rhea Perlman, felt that a doll with impossibly frail wrists and a thin waist was a more suitable aspiration.
Vox’s Constance Grady put it best, saying, “The plastic body little girls are given to practice being grown-up with is the same as the plastic body grown men hang from the rearview mirrors of their cars as a dirty joke,” referring to the Bild Lilli dolls. This point is especially disturbing when, as Grady also pointed out, the first commercial for the doll featured a girl singing “Someday I’m gonna be exactly like you… Barbie, beautiful Barbie, I’ll make believe that I am you.”
The doll has always been tone-deaf. A few years after it was launched, just as second-wave feminism was gaining ground, Mattel released Slumber Party Barbie, who “came with pink pajamas, a pink scale set at 110 lbs, and a diet book on how to lose weight, with only one instruction: DON’T EAT!”
Since then, the doll’s history has been marked by a constant tug-of-war as it has attempted to market misogyny to a world whose women are tired of being trodden upon. The film is a similar mess of contradictions, and as Andi Zeisler wrote in a New York Times op-ed, it is “one that acknowledges and embraces that weirdness under the vigilant gaze of a corporate chaperone.” Zeisler admitted how she didn’t realize that “the film’s narrative would essentially serve as a Mattel redemption arc,” turning her as a viewer into, “an unwitting Barbie P.R. booster.”
Now, just as Mattel managed to reinvent a male fantasy as a girl’s toy, the new Barbie movie is reinventing the doll as a universally beloved character in our imagination. Forget product placement—the insidious insertion of branded products into films and television shows as a sly form of advertising—the Barbie movie is one giant advertisement, the inaugural creation of Mattel Films. Rather than creating new characters to tell a story and then milking the profits from the resulting merchandise—as is the traditional marketing ploy popularized by films such as Toy Story—Mattel has followed in the footsteps of companies such as Lego and its popular 2015 Lego Movie.
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