The ‘Barbie’ Movie’s Best Line Honors the Beauty of Older Women

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The ‘Barbie’ Movie’s Best Line Honors the Beauty of Older Women
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'I’ve been crying for the last seven days straight,' writes colemanjspilde. 'If you think that sounds hyperbolic, I’d wager that you haven’t seen 'Barbie' yet.'

as a film that is as much about the unique gift of womanhood as it is about the inherent difficulty of being a woman in a patriarchal society. Furthermore, it’s a piece of dialogue that can be appreciated by every single viewer, regardless of their gender. It only takes being the child of a mother for Perlman’s words to resonate, and even those who may have strained relationships with their mothers can appreciate how the line values both parent and child alike.

As if that moment hadn’t already triggered gushing sobs, echoing throughout the theater during both screenings ofthat I’ve been to so far, Gerwig takes it one step further. Ruth asks Barbie to close her eyes, and Barbie sees all of the splendor of being a woman play out before her. Old home movie footage of mothers and daughters growing up together blends into scenes of young girls blowing out birthday candles.

Until this point, Barbie spends the film becoming familiar with the equal pain and exquisiteness of being alive. Early in her journey to the Real World, Barbie sits at a bus stop and looks around, taking in the people around her. She sees as much strife as she does happiness, watches as the wind blows through the trees, and starts to cry—until she turns over to smile at an older woman, sitting next to her on the bench. “You’re so beautiful,” Barbie tells her, smiling.

Combined with Barbie’s climactic journey through the human experience—and Ruth’s astonishing line about the nature of motherhood—the bus stop affirms the film’s reverence for older women. Gerwig herself“the heart of the movie.” Barbie, free from her neon world where no one ever ages, can still easily telegraph the loveliness of the woman sitting before her.

This ending is Gerwig’s third triumph as a director who trades in thoughtful stories about mothers and daughters. Her affection for older women, and how they move through life with history at their backs, has become somewhat of her calling card. She did it with her first solo feature,

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