I am a huge fan of all things “Saturday Night Live,” and have been a rabid pop culture consumer since the show’s debut in the mid-1970s (and, admittedly, since I was way too young to be doing so). I’ve read all the memoirs and behind-the-scenes books, have devoured documentaries, and have watched every movie based on any of the show’s skits (no matter how bad).
In other words, my personal interest in the history of SNL makes me the precise target audience for co-writer and director Jason Reitman‘s “Saturday Night,” an energetic film that dives into the chaotic genius and creative genesis of what would become one of television’s most iconic shows. While I didn’t like this much as I’d hoped, there are plenty of Easter eggs and homages that diehards will appreciate on a very deep level.
Set in a time of unrest and counterculture, the film takes place on October 11, 1975 and captures the frenzied hours leading up to the inaugural episode of “SNL.” The story follows figurehead Lorne Michaels (Gabriel LaBelle) and his attempts to corral the chaos of his unruly young staff and stars, including writers Rosie Shuster (Rachel Sennott), Michael O’Donoghue (Tommy Dewey), and Al Franken (Taylor Gray), special guests Andy Kaufman (Nicholas Braun) and George Carlin (Matthew Rhys), and soon-to-be comedy superstars John Belushi (Matt Wood), Gilda Radner (Ella Hunt), Chevy Chase (Cory Michael Smith), and Dan Aykroyd (Dylan O’Brien). This is where “live from New York” all began, and Reitman tells the story of the earliest day of the show: the night of its premiere.
The casting is by far the best thing about the movie. It’s an absolute master class, with everyone diving into their real-life counterparts with a remarkable accuracy. At times I could swear I was actually watching a young Belushi and Chase, and it’s nothing short of thrilling to see doppelgangers of SNL’s most famous original cast portrayed with such perfection. If there ever was a time for an Oscar for Best Casting, this is it. This film would be an absolute slam dunk shoo-in for the award.
Reitman’s direction mirrors the show’s chaotic spirit, but it takes him a while to settle down. It’s highly reminiscent of the fluid, fast-paced style of “Birdman,” which injects urgency into every scene but also is a little off-putting. Reitman captures the tension and high stakes excitement of the show’s launch, including the reckless audaciousness of allowing a group of unknowns to perform comedy sketches on live television.
While the film provides an emotional treat for those well-versed in the show’s history, folks who are not as steeped in SNL lore may not find it to be quite as rewarding. Reitman relishes the details in his depiction of the backstage mayhem and formative moments of the show’s creative process, relying heavily on historical context and inside jokes that will make this film less accessible to those unfamiliar with SNL’s origins. This is more of a film for those already in the know versus one that will introduce newcomers to the table.
If you know the backstory and the characters involved, Retiman serves up a healthy dose of ‘memberberries. He weaves in some of the more infamous behind-the-scenes legends (including a riotous supporting turn from J.K. Simmons as Milton Berle) and plays fast and loose with the minor cast members like Garrett Morris (Lamorne Morris), Jane Curtin (Kim Matula), and Laraine Newman (Emily Fairn), incorporating some of their most well-known sketches into the film’s limited setting and highlighting the competitive energy of the more popular comedians. There’s a particularly touching scene, imagined or not, between Radner and Belushi at an ice skating rink that hits hard.
The film offers an entertaining look at the pivotal moment of a television revolution in progress, yet it struggles to maintain that anarchic momentum throughout its runtime. The focus on backstage drama is interesting but can sometimes feel overextended, with certain scenes dragging out the narrative. Overall, “Saturday Night” is good, but not great.
By: Louisa Moore
Screen Zealots 