Regardless of its current status in our culture, “Saturday Night Live” (“SNL“) is an undeniable pioneer of late night television. The comedic stars it produced along with iconic bits and characters have lived for decades across multiple generations. The show throughout the years is ubiquitous in American television, so it would make sense that “Saturday Night” exists. A throwback examination of the first show ever and its ‘almost didn’t make it to air’ chaotic miracle of production. It’s Jason Reitman’s best work in years (free from the “Ghostbusters” shackles) and I say that as someone who doesn’t have the disdain for his work others seem to possess. It’s a story that many know and has been documented multiple times over in various mediums, but never loses its excitement to see it unfold.
“Saturday Night” has everything going for it; competent direction, excellent performances, compelling story, and a ticking time bomb of tension that sets a timer and begins its unrelenting pursuit to make it to air. But for all its positives, the film is held back by the most simple of ideas left unexplored: “Saturday Night” has nothing to say about anything. It has two takeaways – Lorne Michaels is a God, and making television is hard – two things no one really needs or wants a movie about. Michaels is by all means a late night staple and pioneer that revolutionized television, but literally calling him Prometheus and framing his entire purpose as the one who stole fire from the Gods (an actual line of dialogue in the film that essentially encompasses his entire character arc) is a bit too far with reverence that Reitman seems very concerned with getting across to the audience. Secondly, is there anyone that doesn’t know filmmaking – be it feature or television – is really hard and anything that can go wrong usually does? “Saturday Night” seems to think we don’t know that, and frames its entirety of fast paced, high tension comedy romp on this idea.
Thing is, we already know the outcome. We know Saturday Night Live debuted on October 11th, 1975, so making “Saturday Night” a powder keg of doubt that things won’t eventually work out relieves that time crunch tension before it ever really gets going. And because the film has nothing to say about creation, art, artists, comedy, vision, writing processes, even the real life characters that fill the cast etc. it’s all relegated to its most surface level of examination. The jury is still out on whether or not Reitman is unwilling or unable, but it ends up making “Saturday Night” void of purpose and ultimately voiceless. It is told with a longing nostalgia and mythical reverence, and seems unconcerned with nuance or complexity for both the show and its longevity and the original cast that made their mark here.
Despite all of this, “Saturday Night” is a genuine crowd pleaser – and for all its surface level operating – never stops being consistently entertaining and tightly wound. It doesn’t matter if you know everything is going to work out. Reitman’s knack for nostalgia and Eric Steelberg’s frantic cinematography nearly overshadow all of “Saturday Night’s” shortcomings. The outcome stops mattering because the clock is set, and for 90 minutes we are thrust into literal behind the scenes chaos that feels too exaggerated to have possibly happened but more than likely did, and that merry band of misfits running about from room to room and set to collapsing set never stops being exciting, funny, and a blast to watch. “Saturday Night” is just a good time at the movies, a film that sets its mark and sends us off to the races as soon as the gun goes off and never stops until we make it across the finish line.
More than the timestamps and frantic energy the film possesses, it’s the cast that really brings everything together. The true runaways of “Saturday Night” are Corey Michael Smith as Chevy Chase and Dylan O’Brien as Dan Aykroyd. They are incredible here, walking the line between impression and their own interpretive sensibilities, embodying the younger versions of the famed comedians to near perfection. I will never tire of seeing Rachel Sennott, and for the limited time she’s given as Rosie Shuster she’s dynamite. Reitman attempts to cram just about every single aspect of the shows’ humble beginnings into his 90 minute time bomb, and largely succeeds thanks to the characters that do get the most screen time. Though “Saturday Night” seeks to include everyone it possibly can, many performances are relegated to blink and you miss them appearances. People like Ella Hunt as Gilda Radner, Nicholas Podany as Billy Crystal, Taylor Gray as Al Franken among others get very little to do, as trying to include everyone from the studio exec David Tebet (Willem Dafoe) to exasperated senior adviser Dick Ebersol (Cooper Hoofman) to nearly every guest that appeared on the premiere in addition to the original cast.
Smith and O’Brien are given the most to do from the cast in “Saturday Night” and own every moment of the screen. Their charm channeled through their Chase and Aykroyd reverence shines the brightest, and might be some of their best work yet. Gabriel Labelle continues to be the discovery of his generation, portraying an excellent Lorne Michaels and proving that he is a leading man and a tried true movie star. It is so rare for a breakout star in something personal like “The Fabelmans” is not only able to experiment with small, against type roles like “Snack Shack” but continue to prove themselves more than just a plucked from obscurity washout and carry something as big as “Saturday Night.” I’m all in on Labelle, and he really is terrific here. Hoffman too, though not as prominent, stretches himself as a performer and holds his own surrounded by so many other, more experienced rising stars.
For those familiar with the story of Saturday Night Live, this surface level retelling may be a bit of a disappointment. Particularly if you’re a huge fan of the early cast and sketches, it can feel like a subpar imitation of the better, real life sketches and people that both already exist. But if you’re not a diehard fan of the show and its chaotic start, “Saturday Night” is a breezy, fast paced, consistently funny movie going experience. It may not have anything to say about its subject matter, but it’s hard not to be won over by its nostalgia fueled aesthetic and stellar cast.
Sometimes films can just be a good time even when they should have something more to say for themselves. It’s ok to sit back and enjoy the ride, and “Saturday Night” is a helluva fun ride worth taking. It’s irreverent and brash, and mostly demonstrates the rebellious nature of the show itself.
There are worst ways to spend Saturday night, and watching “Saturday Night” is among the better things you can do with your time.
Rating: 3.5 out of 5 Stars
“SNL” kicks off their 50th season this weekend on September 28th, with host Jean Smart and musical guest Jelly Roll. “Saturday Night” releases in select theaters September 27th, and wide release October 11th. You can watch the trailer below.
