Director Jason Reitman’s film “Saturday Night” was released on Oct. 11. The movie follows the chaotic 90 minutes leading up to a legendary night in comedy history: The premiere of the first-ever episode of “Saturday Night Live” (1975-), better known as SNL.
The movie follows the creator of the show, Lorne Michaels, played by Gabriel LaBelle, as he runs around struggling to cut down a three-hour show of sketches, building a television set and managing the egos of the not-ready-for-primetime players before the 11:30 p.m. start time. The pressure mounts as they are not only over-budget, but scripts are unfinished and a producer with a red pen threatens to chop any semblance of sexual innuendos.
As a long-time fan of the sketch comedy show, I give this movie nine out of 10 stars. This movie is funny, witty and fast-paced. It dives into the mythology surrounding the show’s opening night and reels the audience in as well. It’s a movie that fights for the underdog, which is heartening to see.
What exactly was this “revolutionary idea?” Well, don’t ask Michaels, because apparently, he doesn’t know either. Whenever asked by NBC executives in the film about the concept of the show he is trying to miraculously pull off, he never delivers a straight answer.
The camera is constantly moving from one trainwreck to the next, and in the middle of this hurricane Michaels is doing everything he can to stop the looming specter of failure. This is because at any second, the higher-ups are ready to pull the plug on his revolutionary idea to change the traditional sketch comedy format.
With some insight nearly 50 years later, I can confidently say that SNL was a radical idea because it was a live comedy sketch show that skewed the very concept of live entertainment. What he showcased at that time was unknown, and unconventional groups of comedians and writers like Dan Aykroyd and Chevy Chase would go on to redefine comedy through their sketches and the memorable characters they portrayed on the show.
The tension in the film is palpable, almost electric. It unfolds in real-time — or at least maintains that illusion — as we learn the high stakes leading up to the 11:30 p.m. debut. Surprisingly, this tension works. Despite knowing the outcome, I was on the edge of my seat. Reitman crafts this frenetic energy beautifully.
The cast is plentiful with every SNL member from the first season portrayed in the movie. Alongside the arrogant Chase, played by Cory Michael Smith, and the witty Aykroyd, played by Dylan O’Brien, is a diverse ensemble full of hilarious personalities.
A temperamental John Belushi (Matt Wood), outstanding Gilda Radner (Ella Hunt), glamorous Jane Curtin (Kim Matula) and over-the-top Laraine Newman (Emily Fairn) all add to the eccentric, chaotic atmosphere of the film.
The film, however, does not attempt to differentiate between the three female leads, leaving them to just be used as side characters next to the male leads. Although I would have loved to see Radner’s iconic Roseanne Roseannadanna character up on the big screen (or maybe not because no one can beat Radner), the underuse of female characters intentionally mirrors the “boys club mentality” that permeated Studio 8H back in 1975. I appreciate that the film showed realistic depictions of what it was like to be a female comedian at SNL and be sidelined for the male leads as opposed to presenting idealistic portrayals that serve to pass the Bechdel Test.
The film also includes a frustrated Garrett Morris, played by Lamorne Morris, who notices Michaels has reduced him to stereotypes as he is the group’s only Black performer. Morris is a trained Broadway singer and has no background in comedy; throughout the film, he struggles to find his place among the seasoned comedians he will be sharing a stage with. Morris’s search for identity throughout the film makes his character have one of the most compelling story arcs.
Although most of the names listed are now forever ingrained into popular culture, the cast of “Saturday Night” does a fantastic job of not turning the people they’re portraying into caricatures. The film’s primary focus is of course to entertain, but it also allows the audience to sympathize with the real-life cast members by shining a light on their stressful endeavors.
Rachel Sennott’s performance as Rosie Shuster stood out the most. Shuster is an experienced writer who was married to Michaels at the time and is the comedic backbone of the film, keeping Michaels’ sinking ship afloat. She remains calm under pressure and doesn’t let the overwhelming number of setbacks ruin the production of the show. Almost anything that could happen on opening night happens. The set’s film lights catch fire, the sound system is a wreck and the cast and crew are in an open revolt with each other. Yet, despite all of this, Schuster can mitigate and handle each problem with ease.
The one question that lingered in my mind as I sat at the theater was, “Why was the movie made?”
Well, there’s an obvious answer: SNL just started its 50th season, and nostalgia is a convenient way to honor the show and an easy way to rake in money. But other than that, this movie only reminds me of that one time in history when SNL would be considered “funny” by the general public. The movie’s appeal stemmed from my love of the show; I had a good time watching its chaotic origin, but I’m not sure if casual viewers would feel the same.
The movie pays homage to the old era of SNL, but is also a movie for the die-hard fans of the 50-year-run show. If you had no clue who John Belushi or Andy Kaufman, who plays Latka, were before walking into the theater, chances are this movie might be too fast-paced because it jumps straight into action without much room for context. From the first scene that features burning SNL scripts drifting down to the New York City streets to the stage lights crashing during the first rehearsal scene, the chaos never stops.
A stand-out moment in the movie that made me question the reasoning behind making this film was the scene where Milton Berle (J. K. Simmons), also known as “Mr. Television,” dances on a variety show while Michaels watches. As Michaels stares at Berle, dancing with women showing scandalous cleavage, he notices the show’s director sitting in his chair. Staring into space while smoking his cigarette, the director is completely bored out of his mind.
This scene encapsulates the stale state of television at the time. Berle, a titan of the industry, serves as the villain of the movie. He represents the safe and conformist era of television that Michaels and his motley crew want to dismantle. It’s at this moment when Michaels recognizes the urgent need for a television revolution. He is battling network executives who would rather play reruns of Johnny Carson than take creative risks.
When watching this scene, I couldn’t help but find it ironic that the movie doesn’t take any innovative chances and only recounts events from the past. It’s a fascinating paradox; while the film attempts to honor the rebellious spirit of the show, it simultaneously reflects a reluctance to step outside the shadows of its past. It’s merely here to reimagine the bygone era when SNL was “actually funny.”
Despite these critiques, I thoroughly enjoyed “Saturday Night.” SNL has opened doors for many comedians and is a significant part of our cultural landscape, so it is heartwarming to see a film that commemorates it.
