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Writer's pictureSaxon Whitehead

'Saturday Night': A Fun, Chaotic Look at SNL's Debut



Now celebrating its 50th season, Saturday Night Live has been a mainstay in the world of comedy, introducing exciting new talent to the world and airing countless memorable sketches that are still referenced to this day. Through all the peaks and valleys it has experienced over its run, SNL has managed to persist as one of television’s most beloved institutions. Jason Reitman’s latest film, Saturday Night gives viewers a backstage look into the chaotic world of Studio 8H, detailing the 90 minutes that led up to the first ever episode of SNL (then called NBC’s Saturday Night) in real-time. The film captures the stress and excitement that was in the air during that fateful night, as well as the infighting amongst the cast and crew. 


Anyone who is familiar with how SNL works behind the scenes could tell you that it is very hectic and that there are so many moving parts, and this has been the case since the very beginning. Saturday Night shows all of the hurdles that showrunner Lorne Michaels had to overcome in order to make sure the first episode made it to air, making it seem miraculous that the show actually happened in the first place, and has gone on to have such a lasting cultural legacy since then. With a strong ensemble cast and Reitman’s best direction in years, Saturday Night shows the tense, exciting, and often funny moments that led up to the premiere of SNL, as well as the hard work that has gone into the show for almost 50 years now. 


On October 11, 1975, NBC is preparing to broadcast the premiere episode of a new live sketch comedy show called NBC’s Saturday Night. Led by young showrunner Lorne Michaels (Gabriel Labelle), the show is facing a number of problems and last-minute decisions before it airs. From arguments between its young cast members, to technical difficulties, to a host of other issues and setbacks, Michaels and company are on a race against time to make sure that the show goes on as planned.


The film’s choice to focus solely on the 90 minutes before the first episode of SNL aired ends up being a bit of a double edged sword. By showing the events unfolding in real-time, it makes the stakes feel higher and puts the audience in the headspace of its characters. However, it also limits the amount of time it can devote to its numerous plot points. The film wants to make sure it includes as many of the people who were involved in the first SNL episode as possible, but its real-time conceit does mean that only a select few get considerable screen time. It seems that Reitman and co-writer Gil Kenan are aware of this, and try to focus more on some of the figures that are less familiar to the general public. I particularly liked the plotline centering on Garrett Morris, and was pleased that Michael O’Donoghue shows up in multiple scenes. We do get some strong moments featuring some more widely known players, but I appreciate that the film gives some of the show’s more undersung heroes some considerable screen time. The real-time conceit does mean that the film’s storytelling can feel rushed and overstuffed, but it at least feels conscious in what it chooses to spend more time on and what it brushes past. 


The fact of the matter is that the film isn’t necessarily trying to be a comprehensive account of the events of October 11, 1975, but it is attempting to recreate the flurry of emotions that the cast and crew experienced in the lead-up to SNL airing for the first time. I’d argue that it is quite successful on that front, as the direction and editing really heightens the tension, but has an air of excitement underlying the entire thing. Anyone watching the film knows just how everything is going to end, but seeing the characters working to make the show happen and unwittingly standing on the precipice of something great makes the film all the more enjoyable. It captures the stress, the frustration, the joy, and the thrill that the cast and crew were experiencing, allowing the audience to become more invested in everything. 


I’m a sucker for a good backstage movie, and this film certainly falls into that category. Add in the fact that I am a big comedy nerd who has watched SNL since I was kid, and you have a film that I really couldn’t resist. That said, I couldn’t help but think of the film Birdman while watching this, largely due to its backstage setting, Jon Batiste’s percussive score, and its penchant for lengthy tracking shots. This was a little distracting for me, but I was able to pull myself back into the film pretty easily. Thankfully, the moments that feel like it is blatantly ripping off Birdman are few and far between, and it at least uses these elements well within the film’s context. The long shots take us through the studio, and contribute to the tense, anxious vibe the film is going for. Batiste’s score is quite good as well, utilizing percussion instruments, as well as some jazzy horn and piano arrangements. Certain moments call to mind some of Batiste’s solo work, as well as the music traditionally played by the actual Saturday Night Live band. It fits the film naturally, as it feels familiar yet occasionally off and serves as a great companion to what we’re seeing on screen. 


The film has a huge ensemble, mostly made up of up-and-coming actors who portray The Not Ready for Prime Time Players. The biggest standout of the bunch is arguably Cory Michael Smith, who absolutely nails the charm and arrogance of Chevy Chase. He plays him as a hot-shot, with an overly confident swagger and Chase’s trademark snarkiness. He’s a jerk, but there’s something about him that’s strangely likable, much like the real Chevy Chase’s star persona. Smith makes a huge splash here, and is one of the most memorable aspects of the entire film. I also really enjoyed Lamorne Morris’s performance as Garrett Morris, as he is perhaps the character I felt for the most while watching the film. It helps that his storyline is one of the more compelling ones in the film, but it is Morris’s characterization that really brings it all together. I also liked Emily Fairn, Dylan O’Brien, and Ella Hunt’s performances, all of whom have their respective moments to shine throughout the film. 


The rest of the cast is great as well, made up of a mix of bright new stars and veteran actors. Gabriel LaBelle continues to show that he is one of our most promising young actors, tapping into a lot of the same energy he brought to The Fabelmans in order to play Lorne Michaels. LaBelle has this scrappiness to him that drives much of what he is doing, but there is an underlying anxiousness to him that makes him all the more fascinating to watch. He has a great amount of faith in the show, but he’s also scared to death that he will fail. LaBelle depicts these conflicting emotions so effortlessly, and is so fascinating to watch all throughout the film. Cooper Hoffman also really impressed me with his performance as TV exec Dick Ebersol, as he represents the one person from the network that truly believes in Lorne Michaels. He especially shines in a confrontation between him and LaBelle that takes place in a stairwell, which may be my favorite scene of the entire film. I also must shout out Tommy Dewey, Andrew Barth Feldman, and Rachel Sennott, all of whom are quite good here. Sennott is much more understated than I was expecting, but is quite good in her scenes opposite LaBelle. Dewey and Feldman have smaller roles by comparison, but are both quite funny and make their scenes count.


The only performance that I didn’t particularly care for is that of Nicholas Braun, who is double cast as both Andy Kaufman and Jim Henson. As Henson, he comes across kind of flat and is okay at best. Part of the problem lies in how Henson is depicted in the film, as he is mocked and bullied by the cast and crew throughout. While this may be close to how he was actually treated at SNL, it feels like the film is trying to make some digs at him, which is completely unnecessary. Braun’s performance feels pretty one-note, although he does come close to capturing Henson’s gentle, calm demeanor at certain points. However, it is his performance as Kaufman that really didn’t sit well with me. It comes off like he’s just doing a bad impression, and made me cringe. Thankfully, his Kaufman is not in all that much of the film, only really showing up at the very beginning and at the end, but it’s still pretty bad nonetheless. 


Saturday Night is a fun, tense experience that really connected with me as a longtime fan of SNL. It makes you feel that specific mix of excitement and nerves that come with putting on a show, and is exciting to watch unfold. This is Jason Reitman’s best film in a long time, hands down, and features some of the more intriguing direction of his entire career. Its ensemble cast, infectious energy, and unique format help make this more than your standard biopic, although it isn’t immune to certain tropes here and there. It is a solid backstage drama, providing some good laughs and an interesting look at the making of the first episode of Saturday Night Live. Comedy nerds will rejoice, while other people’s mileage may vary. It may not be perfect, but it is one of the better biopics I’ve seen in a while, and is certainly not without its charms.


Rating: 4/5

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