Review: The Film, Saturday Night...

“Live from New York, it’s Saturday Night…!” How many celebrities have made this exclamation? With the fifty years this variety show has been on the air, I can’t even begin to count. And no, I will not consult Gemini to find out.  

Saturday Night (2024), a film by Jason Reitman (Thank You for Smoking), is an attempt to chronicle an American cultural mainstay’s troubled birth. Is it successful? I should think so. As a film, it doesn’t ask much of its audience: just behold, be entertained, and perhaps marvel at the concept of determination. 

According to Reitman and co-writer Gil Kenan (Ghostbusters: Afterlife), the film is no documentary. It feels as if it is all one take, with the nearly real-time ninety minutes that leads up to the show's premier. Wobbly camera shots–an effect I quickly find tedious, especially when overused–follow the actors backstage through doorways, the studio floor, makeup and dressing rooms, and the green room. It’s not too hard to follow, but I found myself a little breathless at the end. 

Admittedly, I wasn’t sure what I was getting into when I started to watch Saturday Night. Would it be a pageant of lookalikes aping speech patterns and idiosyncrasies of famous, household-name comedians? Would the events therein strain credibility? Would the pacing be choppy, uneven, or arrhythmic? I went in without high expectations, but was ultimately pleased with the result. 

An ensemble cast brings their talents to this film. Gabriel LaBelle (The Fabelmans) plays the role of Lorne Michaels, the show’s creator, as a stressed yet driven visionary. Cory Michael Smith (Gotham), delivers a standout performance as Chevy Chase, skillfully portraying the comedian's blend of arrogance and insecurity. Dylan O’Brien’s (Twinless) Dan Akroyd brings dynamic physical engagement which represents the following generation of comedy legends. Matt Wood’s (Instinct) John Belushi is the volatile, unpredictable, improvisational comedian we have all come to love. Lamorne Morris (Spider-Noir) is noteworthy as Garrett Morris (no relation), with one of the most grounded and compelling character arcs in the film. Rachel Sennot (Shiva Baby) takes on the vital role of an SNL writer and Lorne Michaels' former wife, serving as a key stabilizing force amid the turmoil of the writing room. Ella Hunt’s (Dickinson) Gilda Radner embodies the quirky, lively, and adventurous spirit of the legendary comedienne, who was also the first cast member hired.  

Powerhouse Hollywood actors also lent their talents in minor roles. Willem Dafoe (The Lighthouse) plays David Tebek, an NBC upper executive, as the wary old uncle, prone to giving doomsday advice but willing to take risks all the same. J.K. Simmons (Whiplash) steals his scenes as the iconic Milton Berle, the old-time pro reluctant to pass the torch. Matthew Rhys (The Americans) plays legendary comedian George Carlin with enough wit, angst, and bluster that the actor is completely unrecognizable in the role. 

There are many conflicting elements illustrated in this film, such as the friction between greats like Chevy Chase and John Belushi–who hated each other–and the institutional resistance hanging over the fledgling variety show’s head like a Damoclesian sword. The transition from traditional, mainstream Borscht Belt comedy to a younger, bolder, and more anarchic style of humor was not a simple one. Creating a new style, a spanking new brand of comedy, hurts. Recall my analogy to childbirth. 

Critics believed that the film valued style over substance. They claim that the film excessively embraces chaotic "cosplay," portraying the historical launch as a frantic farce instead of exploring the characters' motivations in depth. But–I ask while shaking my head–what exactly were these critics looking for in this film? Surely it wasn’t the character depth and tragicomedy one would find in, let’s say, Shakespeare. Purists bemoan the historical inaccuracies. They highlight that the shortened timeline rearranges actual events, conflicts, and guest appearances from future seasons into the premiere night, which annoys some dedicated fans. Oh, please. 

I recommend this film. Behold it, be entertained from it, and learn a little something about determination while you’re at it.