Tag Archives: Patriarchy

Cinema, New Releases, Reviews

CINEMA REVIEW: BARBIE (2023)

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Directed by: Greta Gerwig

Written by: Greta Gerwig and Noah Baumbach

Based on Barbie by Mattel

Produced by: David Heyman, Margot Robbie, Tom Ackerley and Robbie Brenner

Cast: Margot Robbie, Ryan Gosling, America Ferrera, Kate McKinnon, Michael Cera, Simu Liu, Helen Mirren, Issa Rae, Rhea Perlman, Will Ferrell, etc.

Cinematography: Rodrigo Prieto

*** MAY CONTAIN SPOILERS ***

I saw Barbie (2023) a few weeks ago but work has been really busy so I am only just getting round to reviewing this cinematic adaptation of a lump of plastic that was moulded into a best selling toy. So, after the critical acclaim received for the excellent rites of passage film, Ladybird (2017), and recently starring in the existential comedic folly that is, White Noise (2022), Greta Gerwig takes the helm for this funny, intelligent, sarcastic and brightly coloured filmic vomit.

Gerwig shares writing duties with Noah Baumbach. These two major talents seem an unlikely duo to adapt a story of about an arguably sexist and outdated doll, that profiled unrealistic body images to the millions of people who owned it. I mean, I have never had a Barbie doll and didn’t really like dolls at all as a kid. I might have had an Action Man, but must admit I did enjoy owning my Star Wars figures. They somehow had more character and worth, despite also being made of synthetic polymer. My point is that Barbie (2023), aside from making money, I do not see any reason for a Barbie film to exist. However, it is to Gerwig and Baumbach’s credit they have crafted a wonderful and funny screenplay to ultimately sell more plastic dolls.

The story finds Margot Robbie’s ridiculously attractive blonde living in a utopian land entirely run by different versions of empowered Barbies. Many of which are played by an energetic who’s-who of an ensemble. Suddenly Barbie is struck by existential dread and a fear of death. Determined to discover why Barbie’s perfect life sucks, she goes on a journey to find the reasons why an anthropomorphic lump of processed oil isn’t going to live forever. Joining her on the trip to the real world is the dopey Ken (Ryan Gosling), who love-stalks Barbie like a pining puppy. Cue Barbie and Ken’s “fish-out-of-water” quest to find whatever in the real world. Yet, after a terrifically imaginative opening series of scenes and sequences, this is where the film starts to unravel.

The opening 2001: A Space Odyssey (1968) homage is easily the best thing about Barbie (2023) for me, along with some cracking one-liner gags throughout. Ryan Gosling also steals the show as the dim-witted Ken, whose character arc is ironically way stronger than Barbie’s. Robbie is sparkling as usual but I found the frenzied colours and manic ensemble a little overwhelming for my taste. The film is also way too long with too many unsatisfactory sub-plots, such as America Ferrara’s underwritten real-women-in-crisis narrative. Overall though, Gerwig and Baumbach have great fun satirising the patriarchy and corporate capitalism while at the same time upholding patriarchal values and making $hitload$ of cash in the process.

Mark: 7 out of 11

Cinema, New Releases, Reviews

CINEMA REVIEW: LADY MACBETH (2016)

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CINEMA REVIEW: LADY MACBETH (2016)

DIRECTOR:  William Oldroyd

WRITER:      Alice Birch, adapted from Lady Macbeth of the Mtsensk by Nikolai Leskov

CAST:           Florence Pugh, Cosmo Jarvis, Naomi Ackie, Paul Hilton

**MAY CONTAIN SPOILERS**

lady-macbeth-film

Are there great films announced as classics or loved by critics which you do not like? That isn’t to say they aren’t great films but subjectively you just don’t enjoy them? I guess the biggest ones for me are probably Mulholland Drive (2001) and Close Encounters of the Third Kind (1977). I love the work of Spielberg and Lynch mostly but just do not enjoy these critically acclaimed films at all.

Similarly, a brilliantly made low-budget-period-horror from last year called The Witch (2016) got huge plaudits and the filmmaker Robert Eggers deserved much praise for his atmospheric direction. However, I found it a tremendous bore. As for the box office smash Blair Witch Project (1999); don’t get me started on that over-rated genius-marketing-over-quality-cinema-trash.

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Anyway, how is this ranting connected to my viewing of the grim and pretentious Lady Macbeth (2016)? Well, it’s a film that critics are no doubt going to enjoy for its subversive genre skewering of the traditional period drama. Moreover, the direction by William Oldroyd is stark and impressive, while the fearless Florence Pugh in the lead is clearly going to be an actress to watch in the future. However, it is an intellectual film with little humanity and is ultimately nihilistic in terms of entertainment.

The story is set in 1865 rural England up North against the backdrop of patriarchal dominance where women must and shall know their place. Pugh’s character Katherine is essentially sold into a loveless marriage and rather than play the dutiful wife she rebels viciously. Firstly, she drinks the Master’s house dry of the booze and then enters into an extremely erotic affair with one of the servants, portrayed with muscular naivety by Cosmo Jarvis.

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From then on the cycle of events descend to hellish depths. Murder and revenge are clearly hinted at in the film’s Shakespearean title as Katherine gives Lady Macbeth a run for her money in terms of evil plotting and fiendish acts.  Indeed, this expertly made film is a pure exercise in passionate hysteria featuring a spoilt and lustful lead character. While I love challenging cinema — especially by the likes of Nicolas Winding Refn, Michael Haneke and Lynn Ramsay — there remains an emotional vacuum in this narrative because I found it hard to care about anyone.

The most sympathetic character in my view was the brutalized maid Anna and perhaps the story would’ve been more interesting for me if told from her perspective? So while the film was beautifully shot and framed, I was quite often stumped by the characters’ motivations; especially by Katharine’s decisions at the end. I mean is she the kind of heroine feminism longs for? I doubt that because ultimately she is an evil human being and not a standard bearer for woman kind. Or is she?

Lady Macbeth undoubtedly makes valuable points in regard to the racist and sexist oppression of the time but it is very difficult to have empathy for a lead character who has had a severe personality by-pass.  A far better representation of female empowerment against dominant patriarchy is Park Chan-Wook’s brilliant film The Handmaiden (2016). So, while this film is likely to be on a lot of critics’ “Best films of 2017” lists, I found it overall a pretentious bore.

(Mark: 5.5 out of 11 for the film)
(Mark: 9 out of 11 for Florence Pugh)