Greta Gerwig explains the Stanley Kubrick references in ‘Barbie’
The masterful cinema of Stanley Kubrick is timeless and legendary. His narratives, visuals and themes have not only influenced filmmakers in their approach but have trickled down to sometimes funny, sometimes unexpected homages in cinema. One of the most surprising instances is the recent incorporation of several references in the part-blockbuster movie, part-cultural behemoth: Warner Bros’ Barbie. In a strange yet delightful fusion, director Greta Gerwig playfully blends Barbie‘s over-saturated, pink-coated world with the distinct aura of Kubrick.
Three main Kubrick references are deliberately woven into the fabric of Barbie’s visual identity, drawn from the Kubrick classics: 2001: A Space Odyssey, The Shining and Dr. Strangelove. According to Gerwig, each instance serves more than just a humorous nod to the legendary director – they play a vital part in the film’s narrative, aesthetic and overall ethos, contributing to her uniquely quirky cinematic style.
This unorthodox amalgamation of Barbie and Kubrick came to light in a recent interview on the ReelBlend podcast. While discussing the work, Gerwig revealed her penchant for the legendary filmmaker’s style, talking about her reasons for integrating these references and the specific technical methods she used to achieve the desired impact.
“The Shining, yes,” Gerwig revealed with a laugh, nodding to the numerous times the characters refer to Kubrick’s 1980 horror: “They’re Shining with each other”. Additionally, she confirmed that the film’s opening mimics the iconic beginning of 2001: A Space Odyssey. In fact, the first footage from Barbie seen by the public was a trailer that perfectly replicated the unforgettable opening sequence from the Kubrick masterpiece. She also revealed that the Mattel boardroom design, which effectively constitutes the ‘villain’s lair’ in her new movie, was a not-so-subtle reference to Dr Strangelove.
Far from being mere parodic imitations, Gerwig insisted on the meticulous execution of these references. “I thought, ‘I want to do it only if we can do it’. I want to do it with front-screen projection; I want to do it with the original plates; I want to build the sets as they built it – like, let’s make it count,” she said during the podcast, referring to the conversations she had with her production team about accurately recreating some of the most iconic and innovative visionary aspects of 2001.
The high standards set by Gerwig for these references directly echo the perfectionism Kubrick was famous for, imbuing the project with a unique charm and unexpected depth. “The only way it can be funny to me is if it’s executed with the utmost integrity and excellence. Then it becomes both a funny idea and something more,” she stated.
“I love Kubrick, and his entire filmography is just staggering, but also, there’s something funny to me that he’s also the paragon of a certain type of masculine filmmaking,” Gerwig shared, ending on a note of playful respect for the cinematic giant whose inspiration infused her creation in a way no one anticipated: “It just felt like, what a fun thing to transpose – with respect – to this doll.”
