The box office is a grueling climate for original stories, especially in an era dominated by remakes and sequels. With two of the most anticipated films of the year slated for release on the same midsummer weekend, I was concerned that one would get the short end of the stick. In a prosperous turn of events, young people across social media delved into their bag of creative expression, and a worldwide phenomenon was born. In a mash-up of Greta Gerwig’s “Barbie” and Christopher Nolan’s “Oppenheimer,” the “Barbenheimer” hype train unfolded into a cinematic event for the ages.
Warner Brothers’ original “Barbie” marketing campaign got out to an energetic start. Utilizing the famous Mattel fashion doll to spark initial interest, WB spent $150 million painting the world pink. Lifesize dream houses and bright pink Xbox consoles scattered across social media — while character posters featuring the many Barbies and Kens rendered the film unmissable online.
Universal’s “Oppenheimer” marketing strategy was notably less aggressive. Primarily garnering interest from Nolan’s previous critical acclaim, the film was already bound for success. Some fiery trailers and billboards resembling ticking time bombs counting to the film’s release encapsulated their efforts.
Both ambitious projects from esteemed filmmakers, the only thing standing in their way was each other — until it wasn’t. As a live-action realization of a doll and a historical epic concerning the creation of the atomic bomb, their thematic polar opposition spawned an onslaught of memes. Posters featuring Barbie overlooking a pink mushroom cloud and the titular J. Robert Oppenheimer sporting a pink suit grinning ear to ear graced Twitter, Instagram and TikTok. Instead of picking sides and opting for discourse, fans embraced the potential of “Barbenheimer” — a chance to see Gerwig and Nolan pour their hearts out on screen in a versatile moviegoing weekend.
The success was immediate and historic, shattering box office records. Flocking to the theater to see both on the same day, fans dressed in pink and black. What began as a simple internet joke became the most memorable double feature ever. Their combined opening-weekend earnings skyrocketed to $244 million in the domestic market. “Barbie” raked in a whopping $162 million — the biggest opening ever for a female director. Although coming in second place, “Oppenheimer” earned a staggering $82 million — a figure utterly unheard of for a three hour R-rated biopic.
The passion and excitement behind the creation of “Barbenheimer” and its stunning returns are a marvel of their own. But the icing on the cake came when the lights went down and audiences could finally experience both films in all their glory. Each a masterfully executed vision, “Barbie” and “Oppenheimer” are two of the most incredible films 2023 has to offer.
Gerwig’s creation stars Margot Robbie as the famed doll, inhabiting an alternate reality chock full of unique Barbies and Kens. Barbieland is a lavish beachside landscape sprinkled with pastels and life-sized plastic buildings. The production is among the first of its kind — a glowing representation of a child’s imagination.
Everything changes when Robbie’s “Stereotypical Barbie” is burdened by thoughts of death and must journey to the real world in search of her owner. Accompanied by Ryan Gosling’s Ken, she discovers the harsh nature of reality and the complexities of womanhood. Its vehement feminist messaging is not touched on lightly. Instead, it’s the driving force of the central conflict. While playful, bright and delightfully silly, at its core, “Barbie” is a hard-hitting and empowering feminist epic.
A full-blown comedy for most of its runtime, “Barbie” is the year’s funniest movie. Its jokes range from completely nonsensical to genuinely intelligent and thought-provoking. Gosling’s Ken, a man-child desperately vying for Barbie’s attention, gives one of the best comedic performances I’ve ever seen. His infatuation with patriarchy, love of horses and climactic musical number are as hysterical as they are ridiculous.
In comparison, “Oppenheimer” is a bone-chilling examination of guilt and the terrifying power of man. Cursed with directing the Los Alamos Laboratory during World War II, Oppenheimer must confront his world-changing creation. Cillian Murphy’s career-defining lead performance stares into your soul and leaves you gasping for air. His brilliant mind and complicated relationships become a side note to his explosive discovery, eating up his mind for eternity.
The cast is overflowing with pitch-perfect supporting performances. Robert Downey Jr. as Lewis Strauss, determined to prove Oppenheimer is a communist and withdraw his security clearance, knocks it out of the park. His reserved courtroom speech evolves into volatile anger as the film progresses. Though limited in screen time, Emily Blunt as Kitty Oppenheimer turns in another excellent performance that culminates in a ferocious monologue defending her husband.
With his 12th feature film, Nolan’s direction reaches perfection. He seamlessly cuts back and forth through time, stranding pieces of information until their satisfying third-act revelation. Cinematographer Hoyte Van Hoytema dazzles in color and black and white, depicting the impossible beauty of scientific breakthroughs. The sound ranges from thundering to piercingly quiet, creating an immersive, overwhelming atmosphere for the audience.
When it’s all said and done, “Barbenheimer” will be remembered as an unprecedented success — two films with impactful messaging and masterful direction forever linked in time. Though they share few similarities, Gerwig and Nolan’s films ignited a passion for cinema and storytelling unrivaled in the modern age. Studios may try to replicate their success, but the magic of July 21, 2023, can never be recreated.
