MOVIE REVIEW: “SATURDAY NIGHT” (R)
Ah, “Saturday Night”—a film I wish I could embrace wholeheartedly, but alas, my enthusiasm wanes as I grapple with its shortcomings. As a die-hard admirer of director Jason Reitman, who brought us gems like “Thank You For Smoking,” “Juno,” and “Young Adult,” my hopes were high. Even his more divisive work, “Ghostbusters: Afterlife,” struck a chord with me. Yet, “Saturday Night” leaves me yearning for something more.
This cinematic tale unfurls in the chaotic lead-up to the inaugural broadcast of Saturday Night Live, a milestone that transpired five decades ago, etching its influence into the annals of television history. Picture the historic night of October 11th, 1974: a motley crew of comedic legends, including Lorne Michaels (Gabriel LaBelle), John Belushi (Matt Wood), Chevy Chase (Cory Michael Smith), and Gilda Radner (Ella Hunt), prepare to launch an era of sketch comedy that continues to this day.
Indeed, the ensemble cast shares a striking resemblance to their iconic counterparts, with Dylan O’Brien particularly channeling Dan Aykroyd’s spirit. There are moments when they evoke the essence of SNL—yet, the film’s commitment to a real-time narrative frequently casts them as mere shadows of the comedic giants they portray. It feels less like a homage and more like a faint echo, especially when it comes to legendary figures such as John Belushi.
While the concept of condensing the hectic buildup to a pivotal 90-minute live broadcast is compelling, the execution often feels forced, verging on the inauthentic. Director Reitman and his collaborator Gil Kenan aspire for a dynamic, rollercoaster-like energy akin to an Aaron Sorkin script, but the result lands in a grey area—neither truly exhilarating nor convincingly tense.
Moreover, the film tends to cast some key figures in an unflattering light. Yes, tumultuous moments undoubtedly peppered their paths—yet, “Saturday Night” leans toward mean-spiritedness, neglecting the brighter, joyous side of their artistry. The portrayal of certain personalities, notably the smug depiction of Chevy Chase, lacks nuance, but that perhaps aligns with the vocal criticism he has faced over the years.
Even more disconcerting are the representations of icons like Jim Henson, portrayed as an uptight caricature, which feels particularly disingenuous, especially juxtaposed with the warmth of the recent documentary “Jim Henson: Idea Man.” Similarly, Milton Berle’s depiction as an arrogant gangster lacks the fondness generally associated with his legacy as “Mr. Television.” Still, amidst these portrayals, JK Simmons manages to deliver moments of genuine humor.
Though “Saturday Night” is not without its flaws, it does not completely lack merit. Reitman and his team deserve kudos for maintaining a brisk pace and ensuring the film clocks in under two hours. Ultimately, I find myself offering a backhanded compliment: I would gladly revisit this tribute to old-school SNL over any full episode from the past five years, and that, dear readers, speaks volumes!
