Saturday Night Review | A Brilliant Cast Pointlessly Recreates SNL’s Origin

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As a longtime enthusiast of Saturday Night Live (SNL), I found myself deeply immersed in the recent film, Saturday Night. Having grown up watching the iconic sketch comedy series and appreciating its influence on modern humor, I was eager to delve into the behind-the-scenes drama that shaped this cultural juggernaut.

To those young individuals who’ve primarily been exposed to platforms like TikTok and YouTube, grasping the impact of Lorne Michaels’ Saturday Night Live (formerly known as Saturday Night) might be challenging to fully appreciate. In the upcoming movie titled Saturday Night, director Jason Reitman (known for films like Juno and Up in the Air) seems reluctant, for good or bad, to clearly explain this influence. His 16mm re-creation of the intense, action-packed 90 minutes leading up to the October 1975 premiere of the groundbreaking show that revolutionized American television comedy during the ’70s with John Belushi’s samurai sword, is adrenaline-fueled and filled with tension.

In an effort to recreate the essence of the original cast comprising Chevy Chase, John Belushi, and Dan Aykroyd, Reitman strives to replicate the confusion, turmoil, and uncertainty that characterized the final days before the inception of Saturday Night Live. Although he manages this task with style and vigor, there is little insight or broader message derived from his endeavor, other than acknowledging Reitman’s successful execution of his self-imposed challenge. Consequently, Saturday Night becomes a heartfelt and compelling tribute to the mythology surrounding those iconic performers.

Invented Scenes Lead to a Larger Truth

During the Gerald Ford presidency, when Saturday Night first aired, the older generation, who had ushered in the era of television, were accustomed to their evening TV entertainment featuring Milton Berle doing old, post-Vaudeville dances with a group of showgirls. The fact that Michael was able to persuade NBC executives to approve a show centered around an unconventional troupe of comedians, many of whom were fueled by youth and cocaine, seems almost like a miracle. What’s more, on the premiere night, he – at least from what we can tell – was a runaway train of stress, always teetering on the brink of derailing.

Constantly in motion, whether it’s physically or mentally, Gabriel LaBelle (the exceptional Gabriel LaBelle, who portrayed young Steven Spielberg in The Fabelmans) often appears puzzled and at a loss for words when asked simple questions such as, “Are you even aware of what the project is?” However, like any competent producer, he deftly extracts the necessary words from his frustrated self to pacify or boost the confidence of his inexperienced cast, his gruff, middle-aged team, and the executives who would rather see a rerun of The Tonight Show Starring Johnny Carson instead.

Saturday Night Features Odd Historical Inaccuracies

In the creation of “Ghostbusters: Afterlife,” Reitman, along with his writing partner Gil Kenan, isn’t shy about compressing timeframes or creating incidents (we suspect Belushi wasn’t ice skating in Rockefeller Plaza 20 minutes before air) to uncover the truth behind the show’s challenging origins. However, perhaps they should have stuck to this method, as it might have prevented the phone call Michaels received from Carson, who labeled him a “bench warmer” and warned him not to “get too comfortable.” This unexpected escalation of tension, given that Saturday Night was approved so The Tonight Show reruns could be moved from weekends to weeknights, allowing Carson more days off, seems unusual and historically questionable.

As a movie critic, I found myself slightly troubled by instances where the narrative veered from factual accuracy to heighten dramatic effect. Given the meticulous attention to detail showcased by production designer Jess Gonchor and costume designer Danny Glicker in their pursuit of authenticity, these departures from historical truth felt jarring. The film’s power lies in its sense of realism and immediacy, so introducing inaccuracies for the sake of drama seems at odds with the essence of Saturday Night.

A Brilliant Cast Brings the Classic Ensemble to Life

The meticulous attention to detail in recreating the night is evident through a cast so skillfully selected that it seems the Academy Award for Achievement in Casting should be awarded starting from 2025, not 2026. With cinematographer Eric Steelberg’s camera frequently capturing his movements, Michaels navigates through the corridors of 30 Rock and Studio 8H, putting out various backstage fires and managing the insecurities of his comedy troupe, which resembles a herd of cats. Most actors playing significant roles or writers effectively use their body language and voice to emulate the real individuals without slipping into caricature.

Cory Michael Smith, known for his portrayal of the charming yet arrogant character that mirrors Chevy Chase’s persona, is primarily a dramatic actor, as evidenced by his roles in Todd Haynes’ films. This background makes his performance, notably his confrontations with Berle played superbly by J.K. Simmons, particularly effective. The other characters also have more substantial roles to play, such as Lamorne Morris who questions his casting as a Juilliard-trained playwright, modeled after Garrett Morris (unrelated). Dylan O’Brien, whose speech patterns mimic Dan Aykroyd’s in a funny and accurate way, mainly focuses on flirting with various female cast members, including Rosie Shuster (Rachel Sennott), an exceptional writer who is married to Michaels.

In between brief flashes of time left until their debut, Michael tackles a season’s load of performer problems, with Belushi’s contract refusal standing out. Matt Wood portrays Belushi, channeling his inner turmoil and volatility, but primarily focusing on one emotion – raw irritation. However, he steals more scenes than the female cast members, Gilda Radner (Ella Hunt), Jane Curtin (Kim Matula) and Laraine Newman (Emily Fairn). Despite their impressive performances, they are somewhat overshadowed by the male leads.

Fan Service for Lorne Michaels & SNL 50 Years Later

In the movie “Saturday Night“, the primary antagonist, apart from time and historical events, is the overwhelming stress that Michael experiences due to the anxious executive producer Dick Ebersol (Cooper Hoffman) and the entire network of NBC affiliates and high-ranking executives, including David Tebet (Willem Dafoe). Their reassuring words are laced with a hint of anticipation for failure.

Despite being responsible for ensuring that TV content is family-friendly, the NBC censor (Catherine Curtin) is determined to eliminate any countercultural comedy from the script. This stance puts her at odds with the show’s renowned head writer, Michael O’Donoghue, brilliantly portrayed by Tommy Dewey. He flawlessly delivers lines penned by Reitman and Kenan, including O’Donoghue’s dismissive comment about television being a “lava lamp with slightly better audio.

On this smoothly operating rollercoaster ride, the tension and conflicts never slow down except for intentional moments, such as the skillful inclusion of Janis Ian’s emotional 1975 song “At Seventeen” in the background. The fact that the show finally aired seems irrelevant amidst all the commotion, yet it becomes problematic that the film lacks a second gear, which was not intended to be there. Instead, Reitman has crafted a highly focused and accurate portrayal of how an incredibly challenging and influential television series hurtled towards its premiere, resembling a runaway bumper car.

Reitman’s decision to sacrifice context and complex characterization in favor of a specific goal makes Saturday Night an intriguing spectacle for fans (and corporations, given its upcoming 50th season). However, it serves as a potent reminder that despite the current show’s comedic levels being nearly unbearable, there was once a moment – precisely at 11:29pm on October 11, 1975 – when nothing existed, and then, just one minute later, the comedy world burst open.

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2024-09-25 23:05