When the Promise Was More Than Just Casual
In 2011, the Hollywood industry was no exception to the strange trend of “no-strings-attached romance.” The industry was no stranger to this trend, having released no-strings together romance-seeking and having had no-strings romance released together with Natalie Portman and Ashton Kutcher, with no-strings romance preceding Friends with Benefits just weeks prior to its release. Thus, given the audience reception and industry success, there was clear tone of skepticism and curiosity within audiences and the industry. The same tone of skepticism and curiosity was present, and arguably the same tension, was present with the marketing and audience reception with Will Gluck directed and Justin Timberlake and Mila Kunis starred comedy.
It was clear there was and there would be no shortage of audience and marketing hype. Justin Timberlake had been on the pop and marketing top with Timberlake having been on the pop scene marketing the over and, with Mila Kunis, having just come from riding the marketing and audience hype of having just been on and from riding the critical and audience marketing reception of Black Swan. The marketing and audience reception to the audience hype balance was further promised and, anticipation and excitement, by the sharp, and self, self -aware and -censored, actress and the contrast with the boy and, o4 two, muscular and, o4 the, female, cut.
A Story About Love Hiding in Plain Sight
At its core, Friends with Benefits tells the story of Dylan (Justin Timberlake), a New York art director, and Jamie (Mila Kunis), a headhunter who lures him from Los Angeles to Manhattan. Both bruised by failed relationships, they make a pact: they’ll enjoy the physical side of romance without the baggage of emotional entanglement. As rom-com rules dictate, emotions creep in, anyway.
What makes the film intriguing is how it layers humor with vulnerability. Dylan’s goofy exterior hides a fear of genuine connection, while Jamie’s sarcastic armor shields her from disappointment. Their emotional arcs are less about discovering each other and more about learning to stop running away from love. The film cleverly plays with rom-com clichés — a flash mob in Grand Central, an airplane dash — but grounds them with enough modern wit to feel fresh.
Searching for Belongings: Justin Timberlake
Timberlake’s portrayal of Dylan was not just another role in his evolving career. At this time, Timberlake was trying to be recognized as a serious actor and not simply “the boy from *NSYNC.” Although he had a few supporting roles, most notably and critically, as Sean Parker in The Social Network, Friends with Benefits served as a benchmark in his career, as it was his first true test as a leading man in a broad romantic comedy.
There is a certain nervous charm to Dylan, a quality that Timberlake himself had during this time in his career. Dylan is desperate to be recognized as a serious player in the New York creative scene, and so too was Timberlake, who sought more serious roles in films and wanted to be seen as more than a frivolous crossover. He was to some, a novelty. Timberlake’s raw charisma and comic timing largely to his advantage, but the critics were divided. He was, in a sense, a benchmark and movie star in his own right, as he proved that he could carry a film on more than his fame.
Mila Kunis: From Girl Next Door to Leading Lady
For Mila Kunis, the role of Jamie came at the right moment. Having just wowed audiences with her performance as Lily in Black Swan and having earned accolades as a serious actress, she could have considered more serious films. Instead, she chose to do a rom-com, and in the process, she demonstrated her versatility as an actress.
Kunis added a unique element to the character of Jamie. She was able to combine sass and sincerity. Off the screen, Kunis was known for her direct, unvarnished personality and that came through in the character. Jamie’s one-liners, her sharp comebacks, and even her moments of insecurity were authentic because they reflected Kunis herself. Having grown up on the set of That ’70s Show, Kunis had gained a fierce independence in an industry known for its toughness.
Such attributes of the character Jamie drew audiences to her. She was not just witty, but audiences could connect to her because she was flawed and fearful.
What Worked and What Fell Short
In its attempts at genre hybridity, Friends with Benefits straddled the thin line between fully integrating conventions of romantic comedy and holding them at a distance as parody. Will Gluck included Galatea texts to the romantic comedy genre, and while some may argue that this indulgence mock some of the cliches there was clear investment in them. On some occasions this circumspect attitude functioned, for instance when the characters were self-consciously laughing at their predicaments, but at other times it bordered on undermining the overall moral of still-claiming-authenticity.
As for the visual poetic-ry, the focusing on and then loving New York City as the almost the 2nd character of the movie was delightful. The audio-soundtrack also provided a nice blend of hip-hop and soul that complemented the playfulness of the movie. The end-critique may seem valid, but defending the movie as parody may be more truthful and valid to defend, i.e., the cliches it wrapped with were more expected to avoid, not to relent in cliches the thematic underpin of the movie was to parody.
Audience Expectations versus Reality
Prior to the film’s release there was promise of scandal and norm of modern dating, with prevalent imagery, but few expected there was to be a romantic embrace of the dated conventions. What was even less expected was the feeling that the marketing of the film placed was shifted from scandal to a feeling of comfort. In the movie’s defense, it was more stamped.
The rapport Timberlake and Kunis shared was enough for the film to exceed expectations and get positive reviews even from customers who were initially skeptical. For the most part, their performances were so authentic that even the most apathetic observers commented on the natural ease of their exchanges. The film did so well at the box office, grossing more than $150 million, that it exceeded the expectations of an indifferently marketed romantic comedy. This positive reception indicated that even in an oversaturated genre, charm and goodwill greatly sell.
Promotional tours for the film offered Timberlake and Kunis endless opportunities to fuel the speculation surrounding their relationship, and for the most part, they did so happily, with improvisational witticisms of “just friends,” while others probed to find romantic entanglements resulting from the on-screen intimacy. Almost parasitic, the speculation on intimacy was certainly an element of the film’s marketing, resulting in the film being discussed in the gossip columns in excess.
Almost parasitic, the speculation on intimacy was certainly an element of the film’s marketing, resulting in the film being discussed in the gossip columns in excess. Cast and crew of the film UIF and Canadian Wilds were endured to lie.
During editing, there were reports of “creative tensions.” Some claimed that Gluck had to cut greater darkness or slower pacing for mainstream audiences. Whether or not this is true, it points to why the final version is so much more polished, but less aggressive than the early chatter suggested. “More Than Just a Summer Fling.”
All that said, Friends with Benefits was not a revolution, but it was a pleasing service as a rom-com providing laughter and warmth, and with leads Timberlake and Kunis, who brought more to the role than the typical actor could. Timberlake’s Dylan was the ‘honorary’ player who, like Kunis’ Jamie, was searching for love. And as Jamie fell for Dylan, the ‘honorary’ player, it mirrored the Kunis’s real-life transition to rom-com lead.
Pop culture still references the film as a snapshot of its time. It was a film that, while mocking love stories, proved why we keep falling for love. And behind the glossy finish, the rocky landscape of their own ambitions is what gave the film the heart that many still feel, to their surprise.
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