With “Saturday Night,” director Jason Reitman deftly captures the magic and madness that went into creating the first episode of the beloved and long-running late-night series, “Saturday Night Live” — which kicks off its 50th season on Sept. 28.
Reitman, who co-wrote the film with Gil Kenan, knows the adrenaline rush of getting a sketch (not a skit) to air on the show firsthand; he once spent a week as a writer on “SNL.” This may be why his film anxiously and lovingly depicts the process of a group of unknown young comics — led by the fearless, visionary and beleaguered producer Lorne Michaels (Gabriel LaBelle) — to go live on October 11, 1975.
“Saturday Night” recounts the tensions of bringing the first episode to air by counting down the 90 minutes leading up to the broadcast. Reitman shot the film in 16mm and uses long tracking shots that convey the backstage antics. The approach allows much of the large ensemble cast to shine. It is practically Altmanesque, with overlapping dialogue and witty one-liners — like one about the show’s budget being akin to a random note — and sight gags, including one about a llama, that seamlessly integrate into the fluid chaos that is unfolding.
Reitman focuses largely on Michaels, who is under pressure to deliver a 90-minute live show even though he has three hours of content for his “new variety spectacular,” and an unclear response when asked repeatedly to describe what his show is. He is arguably more nervous than the wary NBC executives — Dick Ebersol (Cooper Hoffman), David Tebet (Willem Dafoe) and the dozens of network affiliates gathered to judge the show and determine its fate.
There are other troubles aplenty. A lighting fixture falls during the rehearsal, prompting the lighting director to quit on the spot. Joan (Catherine Curtin), an uptight woman from Standards and Practices, is questioning the script and the meaning of “clam diver” and “golden showers.” And the actors are all having crises of their own. John Belushi (Matt Wood) has not signed his contract yet — in part because he “thinks he’s Brando” and wearing a bee costume is beneath him. Belushi also fights with Chevy Chase (Cory Michael Smith) in the makeup room, causing more friction. It’s not explained why they hate each other, but viewers can assume it’s an ego thing. Garrett Morris (Lamorne Morris) wonders what he is doing on the show and bemoans, as the sole actor of color, the likelihood of having to play butlers and pimps. And the temperamental host George Carlin (Matthew Rhys) questions the show’s humor — when he is not locked in his dressing room doing drugs.
Reitman embraces the humor of “SNL” that viewers of a certain age will remember fondly. Among the sketches performed throughout the film include “Weekend Update,” and a bit where women construction workers (played by Curtain, Newman and Radner) harass Ackroyd in hot pants. There is also an inspired sight gag involving the development of the Julia Child severing her arm sketch that the show later made famous. And this is what makes “Saturday Night” so infectious. The humor is rebellious, and it challenges the status quo. One of the best moments features Garret Morris doing a sound check by belting out “Gonna Get Me a Shotgun,” a hilariously race-baiting showstopper. Moreover, a land shark is seen in the hallway and Candygram is mentioned in callouts to other choice “SNL” bits.
“Saturday Night” also includes a clever subplot about Milton Berle (J.K. Simmons) visiting the set to wish folks well but also show the old comic guard in contrast to these young whippersnappers. A battle of wits between Berle and Chase becomes a darkly funny game of one-upmanship — even if Uncle Milty literally resorts to swinging his d**k around to show Chase who is boss.
Reitman’s film emphasizes how the cast and crew of “SNL” were the first generation raised on TV. As such, they were disrupters for their peers in the age where late-night television was ruled by Johnny Carson. That Michaels and his “Not Ready for Prime Time Players” bend the rules and think differently is a message Reitman delivers without overkill. When Michaels receives a call from Carson himself, it provides a sense of what is at stake if the producer doesn’t get his show ready to go live by 11:30 pm — a Carson rerun will be broadcast instead. (Spoiler alert: the show goes on).
The can-Michaels-pull-it-off question forms the film’s dramatic backbone, but the sly humor is why “Saturday Night” is so enjoyable. It is not just Andy Kaufman (Nicholas Braun) wandering around the set as if he is lost, or Billy Crystal (Nicholas Podany) worrying about how much time he has for a sketch to air, or even Jim Henson (Braun in a double role) and his Muppets being mocked by the “SNL” writers, including Michael O’Donoghue (Tommy Dewey). There is a throwaway quote from Hitler, and visual jokes such as Morris igniting a cigarette with a burning light that provide the film with its irreverent verve.
The music by Jon Batiste — who appears as musician Billy Preston and does a killer version of “Nothing from Nothing" — also contributes to the film’s nimbleness, providing a jazzy, jaunty backdrop for all of the enveloping action.
“Saturday Night” features too many vignettes, but only one involving Michaels’ cousin/executive assistant Neil (Andrew Barth Feldman) getting stoned while searching for Belushi — who has gone missing — seems unnecessary. Reitman nicely shoehorns appearances by Paul Schaffer (Paul Rust), Don Pardo (Brian Welch), Al Franken (Taylor Gray) and even Janis Ian (Naomi McPherson) into the film, and they all look and feel authentic.
As Michaels, Gabriel LaBelle plays unflappably well, letting his arrogance and confidence come to the surface. It informs, but never overwhelms his performance. As the escalating pressure mounts, he has a cathartic meltdown and several epiphanies that are fun to watch.
In support, Rachel Sennott delights as Rosie; her calm demeanor is appealing. Lamorne Morris is also superb as Garrett Morris, whose wry observations and existential crises are amusing but also poignant. And Cory Michael Smith is a standout as Chevy Chase. A scene of him reacting to being dressed down by the old guard (Tracy Letts) is as admirable as his comic performance for the affiliates. In contrast, Mike Wood’s John Belushi and Dylan O’Brien’s Dan Ackroyd feel underused, but their great comedy pairing was yet to come.
“Saturday Night” brims with tremendous affection for “SNL,” and those feelings feed viewers’ nostalgia. They may not speak to younger generations, but Reitman’s film is a sweet and goofy Valentine, even if it does feel a bit slight.
“Saturday Night” is scheduled for a limited theatrical release in the U.S. on September 27, before its wide release by Sony Pictures Releasing on October 11.
