Saturday Night Movie Review – Offers a Glimpse into the Birth of a Comedy Revolution
Few television shows have left an indelible mark on pop culture quite like Saturday Night Live (SNL). Since its inception in 1975, the show has been the birthplace of legendary comedians, unforgettable sketches, and countless cultural moments that continue to resonate today. However, behind the laughter and the live broadcasts was an electric storm of uncertainty and creative chaos. Enter Jason Reitman’s Saturday Night, a fictionalized retelling of the debut episode of SNL. With a stellar cast and a gripping storyline, the film offers a fascinating behind-the-scenes look at the chaotic energy that sparked a cultural revolution.
Yet, while Reitman’s Saturday Night effectively captures the thrill of bringing the show to life, it leaves a little more to be desired in certain areas, particularly in terms of laughs. But does that make the film a flop, or does it offer a new angle on the birth of one of TV’s most iconic shows?
Recreating the Chaos: Behind the Scenes at Studio 8H
The year is 1975. The place: 30 Rockefeller Plaza. As the clock ticks down to the first live broadcast of a show that would go on to change the face of comedy, the cast and crew of NBC’s Saturday Night (as it was originally called) are scrambling to put the final pieces together. Reitman, who co-wrote the film with Gil Kenan, masterfully conveys this sense of urgency and mounting pressure, using quick edits, rapid pans, and a soundtrack of pounding footsteps and frenetic voices to create a palpable sense of chaos.
The film begins on October 11, 1975, mere hours before the debut episode is set to air. The stakes are high, the show still feels half-baked, and everyone involved is teetering on the edge of panic. But amidst the turmoil, there’s also an undeniable sense of anticipation. Something revolutionary is about to happen if they can just pull it off in time.
Reitman uses real historical moments and embellishes them for dramatic effect, adding to the tension by periodically cutting to an on-screen clock, reminding the audience that time is running out. It’s an effective narrative device that draws viewers in and keeps them on the edge of their seats as the big moment approaches.
Lorne Michaels: The Eye of the Comedy Storm
At the centre of this storm is Lorne Michaels, the man behind the curtain and the visionary responsible for bringing SNL to life. Played by Gabriel LaBelle, Michaels is portrayed as the calm amidst the chaos, the one person who can see beyond the disarray to the comedy gold that lies beneath.
Yet, while LaBelle’s portrayal of Michaels anchors the film, the character itself remains somewhat one-dimensional. We see him juggling egos, fending off the doubts of network executives, and shepherding his young, unruly cast towards greatness. However, we never truly get to know Michaels as a fully realized person. He’s more of a placeholder, a calm, blurry figure at the centre of the maelstrom. Perhaps that’s intentional after all, it’s the comedy, not the man, that we’re here to see.
Still, the lack of depth in Michaels’ character leaves the film feeling a little incomplete. While we understand his importance to the birth of SNL, we don’t get much insight into his personal motivations or struggles, which could have added an extra layer of complexity to the narrative.
The Cast: Comedy Legends in the Making
One of the highlights of Saturday Night is its impressive ensemble cast, which brings to life the original lineup of SNL’s Not Ready for Prime Time Players. The film introduces us to comedy legends like John Belushi (Matt Wood), Chevy Chase (Cory Michael Smith), and Gilda Radner (Ella Hunt). Seeing these icons portrayed in their early days is a thrill for any SNL fan, and the actors do a commendable job capturing the essence of their larger-than-life characters.
But while the casting is on point, the film struggles to give each character the attention they deserve. Notably, the women of the original cast, such as Jane Curtin (Kim Matula) and Laraine Newman (Emily Fairn), are sidelined, while the men, particularly Belushi and Chase, take centre stage. It’s a shame, given the pivotal roles these women played in SNL’s early success.
The film also delves into the racial dynamics of the show, focusing on Garrett Morris (played by Lamorne Morris), the only Black cast member at the time. His portrayal is one of the film’s standout moments, addressing the challenges he faced as both a performer and a person of colour in a predominantly white cast. The film doesn’t shy away from the uncomfortable realities of race in comedy, particularly with one controversial sketch that Morris’ character performs a song about killing white people. It’s a moment that toes the line between shock and satire, leaving the audience to grapple with the larger questions about race and humour.
Imitation vs. Innovation: The Challenges of Recreating Comedy Legends
One of the film’s biggest challenges lies in its portrayal of the SNL cast. While it’s undoubtedly fun to watch talented actors impersonate comedy legends, the novelty of it wears off after a while. At the end of the day, no one can truly replicate the genius of performers like Belushi or Radner. Their magic lay in their originality, in the way they broke the mold and defied expectations. Trying to capture that lightning in a bottle is an impossible task, and while the cast does their best, it’s clear that something is missing.
This issue becomes even more apparent when the film attempts to recreate classic SNL sketches. While some of the sketches still land, others fall flat, highlighting the difficulty of translating live comedy to a scripted film. Comedy, after all, is about timing, spontaneity, and audience interaction elements that are hard to capture in a polished Hollywood production.
Where the Film Falls Short: A Lack of Genuine Laughter
For a movie about one of the most iconic comedy shows in history, Saturday Night is surprisingly short on laughs. The film captures the tension and chaos of bringing the show to life but fails to deliver the kind of gut-busting humour that made SNL famous in the first place. There are a few chuckle-worthy moments, but overall, the film feels more like a drama than a comedy.
This lack of genuine laughter is perhaps the film’s biggest flaw. After all, when you’re making a movie about comedy, the audience expects to laugh and laugh a lot. Unfortunately, Saturday Night never quite hits the comedic highs that it’s aiming for.
A Missed Opportunity: The Documentary That Could Have Been
As Saturday Night unfolds, it’s hard not to wonder if a documentary format might have served the story better. After all, SNL is a real-life comedy institution, filled with fascinating behind-the-scenes stories and larger-than-life personalities. A documentary, complete with archival footage, interviews with the original cast and crew, and a more in-depth exploration of the show’s cultural impact, could have offered a more comprehensive and entertaining look at the birth of SNL.
Instead, Reitman’s film feels like a missed opportunity a fictionalized version of events that never quite captures the magic of the real thing.
A Fun, but Flawed, Tribute to Comedy’s Greatest Show
In the end, Saturday Night is a fun but flawed tribute to the birth of Saturday Night Live. While the film does a commendable job recreating the chaos and excitement of the show’s early days, it falls short in delivering the kind of laugh-out-loud moments that made SNL a cultural phenomenon. The cast is talented, the visuals are spot-on, and the story is engaging, but something is missing.
Ultimately, Saturday Night is a film for fans those who grew up watching SNL and can appreciate the nods to its history. For everyone else, it may feel like a decent attempt at capturing comedy’s lightning in a bottle but one that doesn’t quite spark the laughs it promises.
Saturday Night is now playing in theaters. With its blend of drama and historical context, the film offers a nostalgic trip for fans of comedy history, but it’s unlikely to stand the test of time as a comedy classic in its own right.
