“Now I am become Barbie, destroyer of worlds”: A Barbenheimer review

Ciara Shaye Seaman

21 July was met with waves of conflict — cinemas flooded with pink, suits, and pink suits. This was all the result of months’ worth of the ultimate marketing game: Barbenheimer. Spurred on by humanity’s love of a paradox, when Barbie, directed by rising female director Greta Gerwig, and Oppenheimer, blockbuster sensation Christopher Nolan’s latest tryst, were revealed to share a release date, the two films gained notoriety simply based on the coincidental juxtaposition.

Instead of Barbie vs Oppenheimer, the world welcomed the irony with an unmatched fervour, and we watched as #Barbenheimer flourished. Eventually, the idea formed that it was required to watch both films on the same day, a notion loudly supported by the two casts. As such, this review will follow the recommended route (those who did the opposite doomed themselves).

Oppenheimer follows the story of J. Robert Oppenheimer, affectionately called ‘Oppie’, the leading physicist in the Manhattan Project. Which is responsible for the development of World War II’s atomic bomb. Spanning his journey prewar to the 1950s, Nolan captures Oppenheimer’s fluctuating battle with his identity, genius, and political beliefs in an intense display of existentialism and consequentialism.

Nolan remains one of the forerunners of IMAX technology in films and makes expert use of it in the exhibition of his projects’ detailed magnitude. As his second historical war film following the mass success of Dunkirk in 2017, anticipation was high for this biopic, especially as he would be working once more with Hoyte van Hoytema as his cinematographer. Controversially, the score for Oppenheimer was composed by Ludwig Göransson despite a longstanding work relationship with composer Hans Zimmer.

Nolan’s carefully cultivated teams on his films are of notoriety, with the success of their collaboration being proven in each of his projects’ acclaim. Oppenheimer is no exception, especially in the focal portrayal of Oppenheimer’s perspective and the inner-workings of his character. The immersive score exposes the pressing weight of his ideas and responsibilities to such an acute degree that the intensity in the shots of his troubled façade reveal a further emotional complexity.

This layered exposition on the psyche of such a challenging character is enhanced by the brilliance with which Cillian Murphy fulfils his role. The actor himself deserves tomes of odes but this film is an Oscarworthy display of his talents and the fruits of his intensive labours. Promotion of this film has revealed the extensive preparation that went into the mastery of this biopic, much of which seems to be attributed to Murphy (if his fan club of cast members have any say in it). Between learning 30 000 words of Dutch in a weekend for a lecture on Quantum Physics and immersing himself in the character so intensely throughout filming that the cast joked they saw him eat for the first time only once filming had wrapped, it is true that Murphy’s dedication to accurately portraying the complexity of his character is admirable and fascinating.

The writing allowed for a fantastically astute representation of morallygrey characters, done artfully so that sympathy is created despite the blatant revelation of all of their flaws — aided by the juxtaposing relationship dynamics that further represent the fluctuating inner-workings of both plot and character.

With members like Emily Blunt, Matt Damon, Florence Pugh, and Robert Downey Jr. collaborating to present a sequence of events shielded by much controversy, their skills shone in the conglomeration of an educational plot and engaging portrayal of a massively influential aspect of history.

One of the many beauties of Barbenheimer is the symmetry in the two films’ greatness. Barbie is similarly supported by a renown cast eager to answer the existentialist call — albeit rather differently. The announcement of Margot Robbie as Barbie and Ryan Gosling as Ken, under the guidance of prolific feminist director Greta Gerwig, was met with barely restrained enthusiasm.

Upon discovering the army of a cast donning their armour of pink, social media went up in flames. Real World characters played by Will Ferrel and America Ferrera; Barbies played by Robbie’s twin, Emma Mackey, and Kate McKinnon; and Kens by Simu Liu and Ncuti Gatwa; and Michael Cera’s glorious Alan — it was a guest list destined for a Barbie Dreamhouse Party and they delivered. Excellent performances on all fronts with individual characterisations that created an artwork in their similarity, only to be further developed by the clever incorporation of Barbie marketing slogans as dialogue and witty lyrics worth paying attention to.

The hot pink, wide grins, and disco soundtrack initially promotes Barbie as a fun film for all ages, ready to delve you into the life-size memorabilia of your childhood. Incredibly quickly, however, the audience realises that if you were expecting a light-hearted trip through nostalgia, you have a glittering surprise awaiting you under the guidance of Dame Helen Mirren’s narration.

With the perfect Barbieland set (including Robbie’s dream slide into the pool) made from all the neon colours society grew out of decades ago and the iconic Barbie closet selection, Gerwig took the opportunity to fully commit to her intention. Anyone who has listened to the soundtrack has heard an inkling of how well she answered the call. The clever pairing together of slapstick sets, costumes, music, and dialogue allows for a level of flamboyancy that makes Barbie one of the best examples of what a satire should be.

The very real message about female-empowerment and the truth behind society’s systematic suppression of it under the guise of faux upliftment is complimented by hilarious quips between characters and visual humour perfect for the basis of the film. Gerwig’s union of slapstick and wit allows enjoyment for everyone in a way that welcomes an audience filled with people there for various reasons — and then follows through to educate the masses in such a palpable way you are left wondering whether she should have been more subtle.

However, very importantly, the intentionality with which the feminist message of the film is shared is so fitting for the overall idea of the film. Barbie is meant to be obvious, loud, and noticeable — which means the colour palette was neon and the discovery of patriarchy was Ken’s character arc. We are even gifted with a dance sequence of the ultimate Kenergy, leaving us humming along and appreciating the power of the bros.

The overall exploration of themes spanning existentialism, extremism, capitalism, and misconstrued understanding of advancements made in gender equality were done in such a contrast to the morbid introspection of Oppenheimer. Both films addressed very real issues in their own right, using completely contrasting characters, settings, and ideas; yet we are met with very real results from both.

Ryan Gosling and Cillian Murphy were tasked with opposing characters and yet played pivotal roles in the unfurling of these ethical debates. Ken’s discovery of patriarchy, while hilarious, is an impactful display as to why movies like Barbie are important — sometimes the truth behind our reality needs to be made abundantly clear to us.

Graphic by: Nicole Salgueiro

Met ’n weerbarstig, weergalmdeur-die-studio klank vat

Splinter hul rol as new kids on the Aandklas block aan met passie en erns. Frontman Milano

Reyneke en Dawid Botes, op kitaar, gesels met Die Matie oor somber taxi ritte op ’n reënerige dag, wil vry wees en nuwe musiek wat later die jaar uitkom.

Oor die naam Splinter, sê Reyneke: “Die een kriteria was dat die naam ietsie moet wees wat dieselfde gespel word en iets beteken in Afrikaans en in Engels. Op die ou einde toe kies ons ‘Splinter’ want die idee agter dit was, soos met die boodskap en lirieke en die styl van die musiek, net so bietjie ’n splinter in die vlees van die samelewing wees. Net so bietjie ietsie anders wat mense bietjie ontstel. Ietsie wat jou laat dink.”

Reyneke en Botes, die hart agter Splinter, vertel dat die band eintlik maar ’n open-door policy het, en gereeld met ander plaaslike musikante Kerwin

Albertus, Stuart Martin, Ethan Lawson, James Hund en Dillon

Cornelius en ander werk.

Hul eerste enkelsnit, “Papiere”, dien as teaser vir hul opkomende album, Woes in Wonderland. Die donker-denke en eksistensiële lirieke lees soos ’n gedig teen ’n Koos Kombuis-tipe nostalgiese rock ’n roll klankbaan.

“[Hoe] die liedjie begin het was maar hoe ek gevoel het… [oor] die manier waarop ouer mense met jou praat oor [jou] rigting in die lewe. Dis asof hulle ’n baie rigiede boksie het van hoe jy veronderstel is om te lewe en hoe suskses gedefinieër is en wat jy veronderstel is om te hê om jou gelukkig te maak. Die hele kruks van dit is in die chorus: dis als net papiere. Al daai goed is net sertifikate, en briewe en reëls wat arbitrêr is,” sê Reyneke.

Wegbreek uit die status quo, en vry wees, op jou eie terme, is duidelik ’n groot inspirasie en dryfveer vir Splinter. Reyneke vertel dat die lirieke vir sy gunsteling snit op die album, “Vryheid”, gaan oor die soeke na vryheid, al vat dit jou na donker plekke toe; “Ek gee nie rerig om hoe donker die plek is waar jy moet gaan om daai vryheid te soek nie, ek kan net nie meer hier bly nie.”