Greta Gerwig’s directorial vision, Barbie, crowned the latest entrant to the billion-dollar movie club, has set alight both the box office and discussions about what it means to have a global blockbuster directed by a solo female director. It achieved this staggering milestone in merely 17 days, eclipsing the efforts of past blockbusters and breathing new life into the iconic character, portrayed on the screen by Margot Robbie.
Debuting with a bang on July 21, Barbie racked up $155 million during its opening weekend in the United States, which allowed it to dethrone the previous record holder for a female-directed film, Captain Marvel. This performance, coupled with Christopher Nolan’s Oppenheimer, helped script one of the most successful box office weekends in U.S history. It’s even more notable that the pair made so many people go into theaters without the pull of an Avengers, Star Wars or a new Avatar title. Such an achievement is nothing short of spectacular, especially in a post-pandemic world, where digital streaming seemed poised to cannibalize the traditional movie experience.
While Barbie revels in its success, Warner Bros.’ shark-infested sequel, Meg 2: The Trench secured second place, raking in an impressive $30 million domestically, and a whopping $142 million globally. Meanwhile, Nolan’s Oppenheimer has achieved its own remarkable feats. With a global collection of over $552 million, it stands as the 8th biggest IMAX film to release worldwide and is the 2nd fastest IMAX film to breach the $100 million mark in specific markets.
But amidst these heavy-hitters, what’s the magic behind Barbie’s global allure? For one, Gerwig, who shared the writing responsibilities with Noah Baumbach, has brilliantly transformed what should’ve been just a simple doll narrative into a cinematic masterpiece. Their synergy, coupled with Robbie’s performance and Ryan Gosling’s portrayal of Ken, captivated audiences across continents.
This monumental success offers a testament to Gerwig’s prowess, prompting speculation about her many in-development endeavors in the next few years, which intriguingly include adapting C.S. Lewis’ Chronicles of Narnia for Netflix.
It’s also worth noting the cultural impact of Barbie. While it reigned supreme in most global markets, it faced criticism in Japan due to its association with Oppenheimer, leading to meme-driven conversations tagged “Barbenheimer”.
The ascent of Barbie has further implications for the movie and toy industry. Mattel, the toy titan behind Barbie, has already hinted at future film adaptations of its toy line, suggesting we might be seeing more from Hot Wheels and Uno soon. There are also murmurs of a Barbie sequel, though Gerwig’s involvement remains uncertain.
While Barbie’s billion-dollar feat is monumental, it’s interesting to observe how it stands relative to other giants of the industry. James Cameron’s Avatar and 2019’s Avengers: Endgame continue to tower with their multi-billion collections. Similarly, Barbie’s opening numbers, although impressive, were overshadowed by a few other blockbusters on specific days.
Yet, these comparisons don’t diminish the accomplishments of Barbie. In a world where superheroes, Jedi, and the Na’vi often dominate silver screens, a doll-inspired narrative’s ascendancy is heartening. It’s living proof of how a compelling storyline, stellar direction, and a touch of nostalgia can still command global attention. With or without capes, stories that resonate have a place in the cinematic universe.
Whether you’re relishing in the nostalgia or critically analyzing the film’s direction, one thing is certain: for now, we all live in a Barbie world. And with awards season on the horizon, it seems this Barbie tale is far from its final chapter.
