As someone who grew up with Saturday Night Live (SNL) as a staple of my weekend entertainment and who has spent countless hours dissecting its sketches, I must say that watching this film was a bit like revisiting old friends who haven’t quite grown with me. The film seems to be stuck in the past, much like SNL itself when it leans too heavily on inside jokes and references that only hardcore fans will appreciate.
Ignore the yak in the classroom, there’s a llama in Studio 8H! On October 11, 1975, this studio was bustling with an unusual scene. It was here that a group of young adults were gearing up to debut a live television program, later known as Saturday Night Live. The new movie by Jason Reitman, titled Saturday Night, takes us back to the 90 minutes prior to this broadcast. In this period, producer Lorne Michaels (Garbiel LaBelle) was working tirelessly to keep things under control. Nobody, not even Michaels, knew what the show would ultimately look like. This uncharted program was hurtling towards its airtime, not moving with finesse.
In the midst of numerous pressing issues, such as challenging NBC executives like David Tebet (portrayed by Willem Dafoe), unpredictable performers like John Belushi (Matt Wood), and a crew on the brink of rebellion, adding a last-minute llama to a sketch is the least of Lorne Michaels’ concerns. Even his closest associates have their own preoccupations. For instance, Dick Ebersol, Director of Weekend Late Night Programming (played by Cooper Hoffman), vacillates between supporting his friend and appeasing corporate interests. The hope is that laughter will emerge soon; for now, Lorne Michaels finds himself in a perpetual whirlwind of chaos.
Following his work on two “Ghostbusters” films for Sony, including one he directed, Jason Reitman has returned to his familiar territory by directing an R-rated comedy/drama. To put it another way, he’s leveraging his “Ghostbusters” influence to create a visually appealing film. Filming on actual film, along with regular collaborator Eric Steelberg, gives the movie a more authentic, gritty feel, as seen in “Saturday Night”. Notably, there’s almost always some activity happening in the corners of an average “Saturday Night” shot. For instance, while a conversation between Michaels and Rosie Shuster (Rachel Sennott) takes place in the foreground, Ebersol might be engaged with a clumsy costume worker. In essence, Studio 8H comes to life in this busy production, with everyone seemingly starring in their own movies, even when they’re off-screen.
Many viewers tuned into the first episode of Saturday Night Live on small televisions at home. However, director Reitman experienced the creation of that episode in a much broader, more visually expansive context. The movie maintains this dedication to grandiose imagery consistently throughout. Yet, the screenwriting style shows some inconsistencies. Initially, Saturday Night Live resembles a film by Josh & Benny Safdie, characterized by high tension, numerous overlapping dialogues, and no clear solutions. This part is particularly effective due to its fast-paced nature.
For the second act of Saturday Night, Reitman and Kenan transition to a tone similar to an Aaron Sorkin script. Instead of rapid-fire conversations, they opt for dramatic monologues that delve into characters’ motivations. Keep a tally as people begin sentences with “I know everybody thinks…”, you might find yourself counting more than just the stars in the sky. What was once a whirlwind of chaotic action now appears to be didactic and straightforward. Additionally, these monologues seem overly reliant on witty remarks that reference familiar paths Lorne Michaels, Chevy Chase, and other Saturday Night Live veterans might take in their future careers.
Tracy Letts briefly appears as Herb Sargent, cautioning Chase about pushing others away and ending up isolated. Ebersol and Tebet persistently hint to Michaels that SNL may not last beyond a brief moment of fame. Other characters voice concerns about future legendary skits lacking humor. This writing style results in SNL focusing too heavily on addressing the audience instead of developing complex narratives. In contrast, Danny Boyle’s film ‘Steve Jobs’ portrayed Silicon Valley legends as captivating figures akin to Shakespearean characters, offering more depth through its writing than merely referencing Apple products or delivering lines with hindsight-worthy irony.
The film “Saturday Night” falls short due to its overly specific humor, making it hard for audiences who aren’t already familiar with the sketch comedy show. Directors Reitman and Kenan clearly appreciate the program, but they fail to convey their affection effectively. For instance, a scene where Andy Kaufman lip-syncs to the “Mighty Mouse” theme song to resolve a third-act conflict might not resonate with viewers who aren’t aware of this comedic bit. The emotional impact of the scene comes from understanding its iconic significance in the future, but it isn’t developed or presented in a way that makes sense on its own. Even for someone like me, who is familiar with the “Mighty Mouse” routine and Andy Kaufman’s humor, the scene doesn’t quite hit the mark.
Following this show, Saturday Night assumes its final shape, transforming into a Frank Capra-esque production. Collaboration is key as everyone pitches in to create the spectacle. It’s quite an unusual transformation from drug references and jokes about clam diving to a collective effort towards a noble cause. However, Saturday Night‘s closing acts seem to attempt to evoke emotion that hasn’t been fully earned yet. The excessive use of repeating old skits or overly dramatic monologues has made it challenging for these characters to be seen as independent dramatic entities. Moreover, the reenactment of the “Wolverines” sketch bears a striking resemblance to the emotionally charged “Glasgow (No Place Like Home)” performance from Wild Rose, which feels quite odd.
On Saturday Night, despite its rough production, a skilled ensemble cast manages to shine, showcasing Reitman’s knack for working with actors. It’s delightful to see this talent on display here. The actors who embody familiar SNL personas are exceptional, with Dylan O’Brien and Lamorne Morris standing out as Aykroyd and Garrett Morris respectively. They convincingly capture the subtle intricacies of these actors while making their characters feel authentic. Notable performances from Nicholas Braun, Andrew Barth Feldman, and particularly J.K. Simmons (who steals the show with his hilarious portrayal of Milton Berle) are a joy to watch.
Cooper Hoffman, though, gives the best performance in the film simply because Ebersol isn’t a famous on-screen persona. He’s got way more wiggle room to establish his own individual personality in the proceedings. Also, as someone who knew about Dick Ebersol at the age of 14 thanks to the 2010 War for Late Night book, it’s absolutely surreal to see somebody playing this guy on the big screen.
The focus is heavily on Gabriel LaBelle, who’s rapidly proving himself as an exceptional actor following his roles in “The Fabelmans” and “Snack Shack”. His portrayal of Lorne Michaels is commendable, but the script fails to develop him into a fully-realized character. Directors Reitman and Kenan have a deep understanding of Saturday Night Live history and iconic early sketches, yet their superficial treatment leaves both the character of Michaels and the entire film feeling incomplete. Any director will tell you that memorizing lines isn’t enough; they must be given meaning. Unfortunately, “Saturday Night” seems to have overlooked this crucial aspect before its premiere.
Read More
Sorry. No data so far.
2024-10-15 02:15