Body Barbie Against this Tom Cruise. The body of the puppet against the body of the actor. “Pink” beauty Margot Robbie against the most reckless and “impossible” act of the invincible Ethan Hunt. And who would have thought? Candy Barbie, who lives every day as best as anyone until her sharp feet hit the ground and “thoughts of death” and the first signs of cellulite appear, defeats the super spy who always goes further, every time ready to save the world from new and deadly threats.
COMPETITION
Greta Gerwig’s Barbie surpasses Mission: Impossible – Death Worth and wins at the box office, making history as the most viewed film directed by a woman ever to debut, able to overtake in the US, in first debut, the weekend, all blockbusters Marvel. Is it true “Barbie Mania” also in Italy, where the film continues to dominate the ratings, surpassing i 19 million, which was never seen in the film released at the end of July followed by Mission: Impossible (around 4 million). It’s all about the bodies, after all. what from Cruise, who over the past 20 years has created around himself the aura of an old-fashioned movie character, a symbol of peace who wants to resist the coming new. And a perfectly sized blond white doll with many “accessories”, including a blond Ken forced against his will to “deconstruct” his body in order to try to tell a story that touches us more closely, reflecting not only on femininity, strength, relationships between the sexes and gender stereotypes, but also on consumption patterns that are never more than today a mirror of who we are.
“IMPOSSIBLE” VOLUME
Reflection stays tied to theme in Mission: Impossible narrative carousel Truth: but everything is now confused, there is an elusive and invisible Artificial Intelligence that threatens the world, hiding everywhere and nowhere, able to take over data, penetrate any database, manipulate information and truth. The only way to stop this is to try to change the rules of the game by “returning”, that is, to the analogue, to paper. To the “body” then. Cruz embodies it perfectly. From the first-person stunts with a little bit of digital tech to the dizzying motorcycle jump in this Dead Count, though marred by the thousands of videos released in the months leading up to the film’s release, it’s truly incredible. then big star support for films in theaters, resistance to platforms in support of the idea of cinema, distribution and use that resists time. Tom with his 61 years old just completed and physical always dry and harsh to the envy of heavier peers (such as former gladiator Russell Crowe, two years younger), he strives to maintain the image of an athletic and acrobatic actor. His body becomes center of action and on the production: after all, as he wants to tell you, the star doesn’t use stunt doubles. In the Mission: Impossible saga, Cruz has always outdone himself, measuring himself by extreme free climbing for John Woo (Mission 2), climbing the Burj Khalifa (Ghost Protocol), holding his breath underwater for six minutes, or holding an Airbus flying at an altitude of more than 1500 meters (“Nation of Outcasts”). In Dead Count, he runs like he’s 20, jumps, drives a yellow 500 through the alleys of Rome, fights on top of a moving train, like in the first chapter of a saga staged by De Palma in 1996. For critic Gianni Canova, “an act of faith in hero resistance.
BARBIELAND
In a candy-pink Barbie world where “girls” can be anyone in the environment Ken sheer accessories which are completely dependent on the viewer, truth is a matter of awareness. Which can even be a doll. A trademark of brands, a product of products, a building system for every possible female image, Barbie offers a feminist parable that, deflated after a lightning-fast start (a homage to A Space Odyssey with girls destroying their dolls “to be taken care of” to hug a seductive pin in a suit) shows how far it is from equality. But we discover this not so much through the gorgeous “Stereotypical Barbie” Margot Robbins, who escapes her pastel universe (beautiful scenery and photographs) to become “human”, but by following the evolution of the gorgeous Ken Ryan Gosling with fur, yellow skates and visible pecs, capable of welcoming the great feminine truth in her simple “accessory” look: “I am a man without power: does that make me a woman?”. So, the “doll” bodies of Barbie and Ken, deliberately fake in their status as consumer objects, sweep away the real and “impossible” body of Cruise, who resists the continuous falsification of cinema with an “extreme” gesture. Perhaps because “Mission Impossible” can only exist in a world outside of any reality. While “Barbie” still lives and “fights” next to us.
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