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| Can a doll with an ingratiating smile, impossible curves and boobs ready for liftoff be a feminist icon? That’s a question that swirls through Greta Gerwig’s “Barbie,” a live-action, you-go-girl fantasia about the world’s most famous doll. For more than half a century, Barbie has been, by turns, celebrated as a font of girlhood pleasure and play, and rebuked as an instrument of toxic gender norms and consumerist ideals of femininity. If Barbie has been a culture-war hot spot for about as long as it’s been on the shelves, it’s because the doll perfectly encapsulates changing ideas about girls and women: our Barbies, ourselves. |
| 一个有着讨好人的微笑、不现实的身材曲线和胸部的玩偶能被升华为女权主义圣像吗？在格蕾塔·葛韦格的这部关于世上最著名玩偶的《芭比》、一则真人出演的“加油啊姑娘”式幻想故事里，这个问题萦绕始终。半个多世纪以来，芭比有时被奉为少女欢快与玩乐的源泉，有时被斥为有毒的性别规范和消费主义女性特质理想标准的工具。如果说芭比自问世以来一直是一个文化战争的热点地带，那是因为它完美概括了关于女孩和女人的观念变迁：我们的芭比，我们自己。 |
| Gerwig carves a comic pathway into these representational thickets partly by means of mythology. In outline, the movie offers a savvy, updated riff on the Greek myth of Pygmalion, which has inspired myriad stories about men and the women they invent. In the original, a male sculptor creates and falls in love with a beautiful statue; in George Bernard Shaw’s play “Pygmalion” and in the Lerner-Loewe musical “My Fair Lady,” she’s a Cockney flower girl. In “Barbie,” by contrast, it’s the imaginations of the girls and women who play with the doll that give it something like life, a fitting shift for a movie that takes sisterhood as a starting point. |
| 为了前往这些代表性的树丛，葛韦格挖出了一条喜剧小径，一定程度上靠的是神话的手法。影片大致上是对希腊皮格马利翁神话的一次精妙的、经过更新的复现，这则神话启发了无数有关自己创造的男男女女的故事。在原故事里，一位男雕塑家创作了一座美丽的雕像，并爱上了它；在萧伯纳的剧作《卖花女》和勒纳-洛伊的音乐剧《窈窕淑女》中，她是个英国草根阶层的卖花女孩。而《芭比》截然不同，与玩偶玩耍的女孩和女人们的想象力给了玩偶某种生命，这对一个以姐妹关系为出发点的电影来说，是个贴切的转变。 |
| These imaginers first and foremost include Gerwig herself. The movie opens with a prelude that parodies the “dawn of man” sequence in “2001: A Space Odyssey” (with girls, not ape-men), and then shifts to Barbie Land, a kaleidoscopic wonderland. There, Gerwig sets the scene and tone with Barbie (Margot Robbie) — who calls herself stereotypical Barbie — soon floating out of her Dreamhouse, as if she were being lifted by a giant invisible hand. It’s a witty auteurist flourish. The Mattel brand looms large here, but Gerwig, whose directorial command is so fluent she seems born to filmmaking, is announcing that she’s in control. |
| 葛韦格自己首先就是想象者之一。片头是一段对《2001太空漫游》“人类黎明”片段的戏仿（用女孩取代了猿人），然后转到芭比乐园——一个五彩缤纷的奇幻世界。在那里，葛韦格很快就让芭比（玛格特·罗比饰）——她自称是“符合刻板印象的芭比”——飘出了她的梦想屋，就像被一只无形的巨手拎了出去，从而为影片设下了场景和基调。这是一种诙谐的、作者电影式的欢快景象。美泰品牌在这里令人生畏，但仿佛天生就是拍电影的料、对导演手法驾轻就熟的葛韦格宣告，她才是这里的主宰。 |
| Written by Gerwig and her partner, Noah Baumbach, the movie introduces Barbie on yet another perfect day in Barbie Land, in which dolls played by humans exist in what resembles a toyland gated community. There, framed by a painted mountain range, Barbie and a diverse group of other Barbies rule, living in homes with few exterior walls. With their flat roofs, clean lines and pink décor — a spherical TV, Eero Saarinen-style tulip table and chairs — the overarching look evokes the era when Barbie first hit the market. It’s very Palm Springs circa 1960, an aesthetic that could be called bubble-gum midcentury modern. |
| 由葛韦格和她的伴侣诺亚·鲍姆巴赫合作编剧的《芭比》中，芭比一开始在芭比乐园过着完美的生活，这里就像是一个玩偶的封闭式社区，里面生活着由真人扮演的玩偶。在彩绘的山峦背景前，芭比和其他各色芭比娃娃是这里的主人，她们住在基本上没有外墙的屋宅里。平坦的屋顶、简洁的线条和粉色装潢——球形电视机、埃罗·萨里宁风格的郁金香桌椅——使得这里的整体景观让人想到芭比最初面市那个时代的样子。这很像1960年前后的棕榈泉，一种也许可以称为泡泡糖世纪中期现代主义的美学。 |
| Gerwig has fun in Barbie Land, and in her role as a friendly playmate, she works hard to ensure you do too. She takes you for a leisurely spin, cranks the tunes, stages some old-school, Hollywood-style musical numbers and brings in those eternal sidekicks, the Kens (with a scene-stealing Ryan Gosling chief among them). The production design (Sarah Greenwood) and costumes (Jacqueline Durran) offer ticklish pleasure but also underscore this place’s artificiality. Barbie, et al., are of our world and not, existing in a plasticky paradise that proves less hospitable when she begins having un-Barbie thoughts and experiences: She thinks of death, and then her feet, which are molded to fit high heels, go flat. |
| 葛韦格在芭比乐园里玩得很开心，通过自己扮演的那个友好的玩伴，她试图让你也感到乐在其中。她带你悠闲地游玩，打开音乐，演出几个老派的好莱坞式歌舞片片段，加入那些永恒的衬托角色——肯（其中有一段瑞恩·高斯林的戏十分抢镜）。布景（沙拉·格林伍德）和服装（杰奎琳·杜尔兰）提供了令人心痒的愉悦，但又突显了芭比乐园的虚幻性质。芭比等人是在我们的世界，而不是在某种塑料天堂里，我们后来知道，当她开始有一些不属于芭比的想法和经历时，这里其实并不是那么友好：她想到了死亡，于是她那双根据高跟鞋的形状塑造的脚就变平了。 |
| This change to Barbie’s body is played for laughs — the other Barbies are horrified — but it’s crucial to the plot and to Gerwig’s intentions. Once Barbie’s feet touch the ground, she seeks advice from a misfit version of the doll (the invaluable Kate McKinnon), who prescribes Birkenstocks and a trip to the real world. Soon, Barbie — with Ken riding shotgun — journeys into something like reality; that they land in Los Angeles reads like a puckish joke. There, Barbie is astonished to discover sexism, and Ken is delighted to discover patriarchy, contrapuntal revelations that generate further comedy and something like enlightenment. |
| 芭比的身体变化是为了搞笑——其他芭比都吓坏了——但这对剧情和葛韦格的意图至关重要。一旦双脚触地，芭比就开始向一个不合群的芭比（由不可替代的凯特·麦金农饰演）寻求建议，后者给她开出的处方是一双勃肯鞋，并让她去现实世界旅行。很快，芭比在肯的陪伴下进入了类似现实的世界；他们去的是洛杉矶，这本身就像是个调皮的玩笑。在那里，芭比惊讶地发现了性别歧视，而肯则欣喜地发现了父权制，这种对位的揭示产生了进一步的喜剧效果和某种类似启迪的东西。 |
| Gerwig handles the transition between realms smoothly, but even in this bouncy, happy movie, reality proves a bummer. It’s amusing when Barbie points out a billboard filled with women, mistaking them for the Supreme Court because that’s what the court looks like in Barbie Land, just with more pink. She learns how wrong she was, which is to Gerwig’s point. But the weight of our world, emblematized at least for this viewer by the real Court’s overturning of Roe v. Wade, proves unbearably heavy. However politically sharp, the gag is an unpleasant reminder of all the profoundly unfunny ways in which this world, with its visible and invisible hands, tries to control women, putting them into little boxes. |
| 葛韦格顺利地处理了两个世界之间的过渡，但即使在这部欢快活泼的影片中，现实也令人失望。芭比指着一个满是女人的广告牌误认为是最高法院的桥段很有意思，因为芭比乐园里的法院就是那样，只是粉红色更多一些。后来她才意识到自己错得有多离谱，而这正是葛韦格的观点。但事实证明，我们这个世界的重量——至少对这位观者来说，是以真实世界中最高法院推翻罗诉韦德案为象征——沉重得令人难以承受。不管这个笑话在政治上多么尖锐，它都令人不快地提醒着我们，这个世界用它有形和无形的手试图控制女性，把她们塞进一个个小盒子里。 |
| Mattel has long tried to reconcile Barbie with the real world. The toy’s origins lie with Ruth Handler, a founder of Mattel who wanted to make a doll for girls like her daughter, Barbara. Handler found her inspiration in Europe with an adult-looking German doll called Bild Lilli that Mattel reconfigured. Some buyers pushed back: “The idea of a doll with breasts was not received well,” Handler said in a 1994 Lilith magazine interview. |
| 长期以来，美泰公司一直试图让芭比娃娃与现实世界和谐相处。玩偶的发明者露丝·汉德勒是美泰公司的创始人之一，她想为女儿芭芭拉这样的女孩制作娃娃。汉德勒在欧洲找到了灵感，来自一个名为比尔德·莉莉、有着成年人外貌的德国娃娃，美泰公司对其进行了重新组合。汉德勒在1994年接受《莉莉丝》杂志采访时说：“娃娃有乳房这个点子并不受欢迎。” |
| Barbie’s breasts and the rest of her continued to generate criticism, including from physicians who treat body dysmorphia. In recent years, Mattel has tried to make the doll more culturally relevant, adding careers and not just new merch to its product portfolio. “When a girl plays with Barbie she imagines everything she can become,” a 2015 Mattel ad promised during a period of sluggish sales. Its Fashionistas line introduced new facial shapes, eye colors and skin tones, followed by petite, curvy and tall versions, a diversity that has paid off. In 2019, Mattel announced that this Barbie movie was going forward with Robbie as the star. |
| 芭比的乳房和她的其他一切至今仍招来批评，连治疗身体畸形的医生都有话说。近年来，美泰一直试图让芭比娃娃更贴近文化，在其产品组合中加入职业，而不仅仅是新的商品。“当一个女孩玩芭比娃娃的时候，她想象着她能成为的一切，”2015年，在销售低迷时期，美泰的一则广告承诺。它的“时尚达人”系列推出了新的脸型、眼睛颜色和肤色，随后分别推出了身材娇小、丰满和高挑的版本，这些多样化的设计得到了回报。2019年，美泰公司宣布这部芭比电影将由罗比主演。 |
| As a performer, Robbie always pops onscreen, and her turn here as a classic blond bombshell who has more going on than that sexist stereotype suggests is charming and subtly phased; you can see the light turn on gradually behind her eyes. Like America Ferrera’s sympathetic Mattel employee, Robbie warms the movie, expanding and deepening its emotions. That’s particularly necessary because Ken’s comic obtuseness and arc — as well as Gosling’s deadpan and boy-band dance moves — recurrently draw attention away from the actress and her character. However narratively motivated, this upstaging of Barbie effectively suggests that only the Kens of the world need their consciousness raised. |
| 作为演员，罗比总能在银幕上令人眼前一亮，她在片中扮演一个经典的金发美女，比性别歧视的刻板印象更有魅力，而且具有微妙的阶段性；你可以看到她的眼中渐渐闪现出光彩。就像亚美莉卡·费雷拉饰演的富有同情心的美泰员工一样，罗比温暖了电影，扩展和深化了电影的情感。这是特别必要的，因为肯那搞笑的迟钝和角色走向——以及高斯林面无表情的、男孩组合式的舞蹈动作——经常把人们的注意力从这位女演员和她的角色转移开。无论这样叙事的动机如何，抢了芭比风头本身实际上表明在这个世界，只有那些肯们才需要提升他们的意识。 |
| The real world may initially bewilder Barbie, but she figures it out. That’s just what you’d expect given that Mattel partnered with Warner Bros. for this movie and is banking big on it. For her part, Gerwig figures it out by vibing on joy, tapping into nostalgia, showcasing her large cast (Will Ferrell, Issa Rae, Simu Liu, Dua Lipa, Helen Mirren, Michael Cera, etc.) and, for the most part, dodging the thorny contradictions and the criticisms that cling to the doll. And while Gerwig does slip in a few glints of critique — as when a teenage girl accuses Barbie of promoting consumerism, shortly before she pals up with our heroine — these feel more like mere winks at the adults in the audience than anything else. |
| 现实世界最初可能会让芭比感到困惑，但她琢磨明白了。鉴于美泰公司与华纳兄弟公司合拍了这部电影，并且付了重金，这一切正是你所期待的。至于葛韦格，她通过快乐、怀旧、展示她的庞大演员阵容（威尔·法瑞尔、伊萨·雷、刘思慕、杜瓦·利帕、海伦·米伦、迈克尔·塞拉等等）来解决问题，在很大程度上，她避开了围绕芭比娃娃的棘手矛盾和批评。虽然葛韦格也带来了一些批评——比如一个十几岁的女孩在和我们的女主角交上朋友之前不久，还曾指责芭比助长消费主义——但这些感觉更像是对观众中的成年人眨眼示意。 |
| Like “Air,” Ben Affleck’s recent movie about how Nike signed Michael Jordan, as well as other entertainments tethered to their consumer subjects, “Barbie” can only push so hard. These movies can’t damage the goods, though I’m not sure most viewers would want that; our brands, ourselves, after all. That said, Gerwig does much within the material’s inherently commercial parameters, though it isn’t until the finale — capped by a sharply funny, philosophically expansive last line — that you see the “Barbie” that could have been. Gerwig’s talents are one of this movie’s pleasures, and I expect that they’ll be wholly on display in her next one — I just hope that this time it will be a house of her own wildest dreams. |
| 就像本·阿弗莱克最近拍摄的讲述耐克如何签下迈克尔·乔丹的电影《气垫传奇》，以及其他与消费主题挂钩的娱乐节目一样，《芭比》也只能做到这一点。这些电影不会破坏商品，尽管我不确定大多数观众是否希望如此；毕竟，这是我们的品牌，我们自己。尽管如此，葛韦格还是在影片固有的商业参数范畴内做了很多事情，尽管直到最后结局的时候——以一句尖锐有趣、富有哲理的台词做结——你才看到“芭比”本来可以成为的样子。葛韦格的才华是本片的一大亮点，我希望这些才能能在她的下一部电影中得到充分展示——我只希望下一次，她能真正实现自己最疯狂的梦想。 |
| BarbieRated PG-13 for playful fighting and peril. Running time: 1 hour 54 minutes. In theaters. |
| 《芭比》评级为PG-13，包含嬉戏打斗和危险。片长：1小时54分。目前正在影院上映。 |
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