Barbie is everything but so is Greta Gerwig: Why her storytelling should excite you for Barbie (2023)

As more trailers for ‘Barbie’ are released, to say that it caused a whirlwind of excitement is an understatement.

Unlike any other live-action remakes (e.g., Winx, The Powerpuff Girls), the Barbie movie is here to serve camp and glamour. But what makes this film exciting is not just its star-studded cast or soundtrack but its Oscar-nominated director, Greta Gerwig, who does more than make a pretty-looking film.

ICYDK, Gerwig started as an actress and appeared in and worked on several mumblecore films. But, she is initially known for playing Frances in Frances Ha (2012), for which she received a Golden Globe nomination. Aside from Frances Ha, she collaborated with her partner, Noah Baumbach, in films such as Greenberg (2010), Mistress America (2015), White Noise (2022), and the upcoming Barbie film. But, Gerwig proved that she had a unique filmmaking voice through the critically acclaimed and Oscar-nominated coming-of-age films, Lady Bird (2017) and Little Women (2019).

Aside from her ability to relate to her female audience through her heartfelt approach to bildungsroman, Gerwig’s filmography is a testament to how the female gaze should be implemented. How exactly did Gerwig illustrate the female gaze?

The following paragraphs contain spoilers for Lady Bird (2017) and Little Women (2019).

Defending Amy March and the Realities of Married Life

There have been countless remakes of Little Women, but Gerwig proved that she can still offer a noteworthy retelling of the classic. One of the poignant portrayals that Gerwig implemented is the characterization of Amy March. Arguably, Amy is the most hated protagonist in Little Women, especially because she ended up with Laurie. 

But, Gerwig’s retelling portrays Amy as a young woman who craves greatness in her artistic pursuits. Although Amy is constantly pitted against her headstrong older sister, Jo, Gerwig portrays both of them in a way that proves that they belong to the same side of a coin. Amy had to fit into the stereotypical ideals of women during her time because she believed that marrying someone wealthy is how she can save her family. And, she willingly accepted this fate, understanding the limited liberties of women during this time. Through this, Gerwig does not deny the underlying economic implications of marriage. 

In an article by Constance Grady, she observes that Gerwig also illustrates why Amy is more compatible with Laurie than Jo. Although viewers love the chemistry between Saoirse Ronan and Timothée Chalamet since Lady Bird, Gerwig’s retelling — as well as the amazing performance of Florence Pugh — focalize on the romance and compatibility of Amy and Laurie. Despite the often “unsatisfying” ending of Jo, Gerwig ensured to portray Professor Bhaer as someone who admires and respects Jo and her writing.

Beth was also meant for greatness

In an interview with SBIFF Cinema Society, Gerwig reveals that she wanted to emphasize each sister’s talent, ensuring that their gifts are not dismissed for “adorableness” or belittled. Given this vision, Gerwig decided that Beth should not be known for her untimely demise alone. She believed that it should be highlighted that she was also meant for greatness. In an interview with Gabrielle Donnely, Gerwig narrates:

“When Beth sits down to play the piano at the Laurence’s house, I don’t have her playing hymns. I have her playing Bach and Chopin and Schumann. She’s playing the greats – and by the way, that really was Eliza Scanlen playing – and she’s doing it beautifully and with strength. I wanted the audience to hear that and think, ‘Oh, my God she has so much talent!’ That was the little window of wanting to show that it was not inevitable that Beth died, that she had as much to live for as everyone else.”

Through this, Gerwig emphasizes that the tragedies we experience in life do not define who we are as people. This rendition of Little Women chooses to remember Beth for her sweetness, warmth, and of course, her musical talents.

The Complexity of Mother-Daughter Dynamics

Coming-of-age films are often autobiographical and reflect the filmmaker’s experiences. In her directorial debut, Lady Bird (2017), Gerwig narrates a realistic coming-of-age experience of a teenage girl. Unlike other films in this genre, Lady Bird seems to be anticlimactic but it portrays the authentic experiences that teenage girls go through, such as losing one’s virginity, exploring their identity, preparing for their future, acting differently from who they truly are, and craving freedom and adventures. The film shows that going through adolescence is not a high school musical, not everyone burst into song now and then. That does not mean, however, that it does not have its own struggles and joyous experiences. 

One of the themes that the film explores is the complexity of Mother-Daughter dynamics. Although parent-children conflict is a recurring theme in media, Gerwig’s Lady Bird (2017) explores its complexity by portraying Lady Bird and her mother, Marion, as very similar women in terms of their interests and characteristics, but still often clash. Marion holds her daughter to a standard and when Lady Bird, or Christine, falls short of these expectations, conflict ensues. Although Marion has her faults, Gerwig also portrays her empathetically by elaborating on the struggles of motherhood and showing that despite her shortcomings, she still loves her daughter in a way she knows how.

What Should We Expect from Barbie (2023)

Examining her directorial work, we can conclude that Gerwig emphasizes that a woman’s destiny goes beyond what is prescribed to her by society. In Lady Bird, the film follows its female protagonist’s quest for identity and navigating adolescence to adulthood, while Little Women demonstrate the pursuit of artistry, family, belongingness, and love. We can expect Gerwig’s Barbie to also exude the same storytelling approach exhibited in her other films. Given the recent trailer, we can expect that Gerwig will be expounding on notions about identity and existentialism.

Despite her empathetic portrayals and heartfelt implementation of the female gaze, Gerwig has yet to explore her feminism through an intersectional lens, but Barbie seems to offer a glimpse of inclusivity and diversity in its trailer through its cast. Hopefully, in Barbie (2023) and future films, Gerwig can broaden her feminist narratives. Regardless, Gerwig is to watch out for because she offers profound insights into identity and womanhood.

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