‘Saturday Night’ Comedy a Half-Baked Trip Down Memory Lane

‘Saturday Night’ Comedy a Half-Baked Trip Down Memory Lane

By Alex McPherson

Frenetic, scattershot, and thoroughly self-absorbed, director Jason Reitman’s “Saturday Night” might satisfy those nostalgic for the early days of “SNL,” but fails to make a name for itself on its own merits.

Presenting itself as a fictionalized version of the stressful 90 minutes leading up to the original “Saturday Night Live” (originally called “Saturday Night”) broadcast in October 1975 at Studio 8H, Reitman’s film revolves around Lorne Michaels (Gabriel LaBelle), the show’s executive producer and ringleader. Michaels remains insistent on the show’s potential while having little idea as to what it actually is.

Co-creator Dick Ebersol (Cooper Hoffman) is increasingly worried about how things will pan out, trying to reason with the ever-resistant Michaels as the cramped, claustrophobic halls of Studio 8H buzz with both excitement and growing fears of potentially spectacular failure. There’s also a llama, for some reason.

All the while, a group of unruly, up-and-coming comedians — including the arrogant yet charismatic Chevy Chase (Cory Michael Smith), Dan Aykroyd (Dylan O’Brien), Garrett Morris (Lamorne Morris, no relation), John Belushi (Matt Wood), plus several talented women such as Gilda Radner (Ella Hunt), Laraine Newman (Emily Fairn), and Jane Curtin (Kim Matula) that the film mostly treats as afterthoughts — prepare to go on-air, confronting their own mini-crises and doubts as the clock ticks, ticks, ticks toward showtime, and the history books.

Tempers run hot (the pretentious Belushi and Chase butt heads, and Belushi hasn’t even signed his contract yet), people are stoned out of their minds, lights are falling on-stage, the sound system’s busted, head writer Michael O’Donoghue (Tommy Dewey) is spewing acerbic barbs at anyone and everyone questioning his scripts, and rival late-night host Milton Berle (J.K. Simmons, typically strong) is, quite literally, waving his dong around.

Gabrielle LaBelle, Kaia Gerber and Cory Michael Smith.

NBC executive Dave Tebet (Willem Dafoe) is observing the whole production from afar, egging on Lorne with smug anticipation of his passion project’s downfall, as the whole endeavor is a pawn in NBC’s contract dispute with Johnny Carson.

Suffice to say, the stakes are high, at least in the context of these characters, who don’t yet know that SNL will wildly succeed and become a cultural institution. Watching as a casual fan of the iconic program, though, “Saturday Night” is curiously devoid of surprise, or insight, or, even, laughs. There’s way too much smugness in Reitman’s retelling of this “revolution in comedy.” The film appeals to mainstream cinema’s obsession with callbacks at the expense of telling a story worth investing in.

Still, despite its emptiness, “Saturday Night” features dynamic performances from an ensemble doing an at-times-scarily convincing job at portraying their real-life counterparts. LaBelle brings a nervous, stubborn energy that’s simultaneously inspiring and pathetic, barely tamping down Michaels’ anxiety over his passion project’s success (or downfall, but we already know it’s going to be a success).

Hoffman is typically excellent as Ebersol, channeling his father’s capacity for emotional release during a pivotal scene in the latter half of the film.

Cory Michael Smith is an obvious standout as Chase, conveying the man’s arrogance and insecurity (and hilarity) in a way that demands attention, whether we like it or not. O’Brien makes a mark with his brief screen time as Aykroyd. Morris brings some much-needed pathos as his character questions his purpose and reason for being there as the only Black cast member. Wood does what he can with Belushi, with Reitman and co writer Gil Kenan highlighting his drug use and fickleness (mostly as a punchline) — making Belushi’s will-he-won’t-he arc both semi-poignant and weirdly uncomfortable, given Belushi’s later tragedy.

Gabriel LaBelle as Lorne Michaels.

The rest of the cast — including the ever-reliable Rachel Sennott as Michaels’ then-wife, Rosie Shuster, Jon Batiste in a small-yet-memorable appearance as Billy Preston, and seemingly a million other recognizable faces playing various recognizable faces, with Nicholas Braun doing double duty as punchline-ready interpretations of Andy Kaufman and Jim Henson — are perfectly adequate, but not exactly given much to sink their teeth into narratively with their limited screen time.

Indeed, “Saturday Night” ultimately reveals itself to be little more than a carnival ride of memories and irritating dialogue that — when it’s not replicating famous jokes and sketches — takes advantage of 20/20 hindsight to constantly pat itself on the back.

Reitman and co-writer Gil Kenan’s script takes an Aaron-Sorkin-esque approach in its witticisms, fast pace, and at-times blatant sentimentality as it literally clicks down the moments until showtime, incorporating as many famous gags as possible that loyal viewers are expected to get excited about. Some barbs and vignettes amid the chaos are amusing, and “Saturday Night” is never less than watchable, if usually superficial.

Cory Michael Smith as Chevy Chase.

Eric Steelberg’s textured, 16mm cinematography weaves throughout the studio’s sweaty interiors, faithfully recreated with attention to period detail in sets and costuming, making plentiful use of long takes and whip-pans.

The film careens from one easter egg to another — complete with its own pseudo laugh track of characters cracking up; the film desperately begs us to laugh along with them. Batiste’s percussion-laden score, combined with Nathan Orloff and Shane Reid’s editing, helps create a fittingly frantic, albeit artificial, sense of paranoia that highlights the film’s construction as an allegedly off-the-rails roller coaster that’s never truly allowed to chart its own path.

It’s fine: There’s just not much there beyond the film playing to viewers’ nostalgia. And maybe that’s acceptable for those who’d like to coast on the associated dopamine rush. Myself, however, not so much. “Saturday Night” is never bad (far from it), but it never ascends beyond average — a self-congratulatory tribute to the groundbreaking show in a puzzlingly vanilla framework.

“Saturday Night” is a 2024 comedy based on a true story, directed by Jason Reitman, and starring Gabriel LaBelle, Cooper Hoffman, Willem Dafoe, Corey Michael Smith, Lamorne Morris, Rachel Sennott, Matt Wood, Dylan O’Brien, Ella Hunt, Kim Matula, Emily Fairn, Nicholas Braun, Jon Batiste, Tommy Dewey and JK Simmons. It is rated R for language throughout, sexual references, some drug use and brief graphic nudity and the run time is 1 hour, 49 minutes. It opened in theaters Oct. 11. Alex’s Grade: C

Lively ‘Saturday Night’ Re-creates a TV Landmark’s First Broadcast with Outstanding Ensemble Cast

Lively ‘Saturday Night’ Re-creates a TV Landmark’s First Broadcast with Outstanding Ensemble Cast

By Lynn Venhaus

The unpredictable Not Ready for Prime Time Players would go on to become household names. A shaggy group of irreverent writers would ignite a counterculture revolution with their parodies of contemporary culture and sharp political satire. And a young and scrappy Canadian would lead the inspired chaos of a late-night live sketch comedy show into showbiz history when “Saturday Night” premiered on Oct. 11, 1975.

With “Saturday Night Live” about to celebrate 50 years on television, it’s the right time to revisit the show’s frenetic start in NBC’s Studio 8H in Rockefeller Plaza. Writer-director Jason Reitman’s dramatic comedy finds the beating heart in this runaway train ride depicted in the 90 minutes leading up to the inaugural broadcast.

Along with co-writer Gil Kenan, their “based on a true story” captures the frenetic pace and the backstage lunacy that forever changed late-night comedy. It was a “big bang” that redefined the television landscape, and while a mini-series could do the origin story justice, this focused narrative framework succeeds in pulling back the curtain.

In a kinetic snapshot of what happened that fateful wild and crazy night, Gabriel LaBelle anchors the best ensemble cast of the year as the confident producer Lorne Michaels.

LaBelle, who was impressive as young Steven Spielberg in “The Fabelmans” two years ago, plays the driven big dreamer who believes in his instincts and the largely unknown cast’s talents. He’s the calm circus ringleader in the eye of the storm amidst the gusty winds threatening to blow it all down.

Gabriel LaBelle, center, as Lorne Michaels

From the start, Michaels has produced all but five years of the show, leaving in 1980 when Jane Curtin, Garrett Morris, Laraine Newman and Gilda Radner were the last original cast members to depart, and returning for the 1985-86 season.

He started out as a comedy writer whose credits included “Rowan & Martin’s Laugh-In” and now oversees a vast empire of last-night television and feature films. Michaels’ first wife, Rosie Shuster, is portrayed by a sharp Rachel Sennott as an integral force, both as a writer and someone putting fires out.

As the clock counts down to the live launch, there isn’t time for in-depth character portrayals; instead, we get snippets of familiar personality traits from those emerging stars Dan Aykroyd (Dylan O’Brien), Gilda Radner (Ella Hunt), Laraine Newman (Emily Fairn), Jane Curtin (Kim Matula) and Garrett Morris (Lamorne Morris, no relation), with Chevy Chase (Cory Michael Smith) and John Belushi (Matt Wood)’s well-documented egos and clashes getting more screen time.

The seven actors quickly convey their quirks and foreshadow the stars they would become. Standouts here include O’Brien as a minutiae devotee and big flirt Aykroyd, Emmy-winning Morris as the underused Morris — a multi-hyphenate perplexed at his inclusion, and Smith as quick-witted, arrogant and self-absorbed Chase, the show’s first break-out movie star.

The women, understandably, are trying to find their place in the boys’ club, which is representative of those early years.

The nostalgia factor is big here for longtime fans of the show, especially those of us who watched the first episode in real time (My college roommates and I tuned in, presumably because we were big George Carlin fans, for we did not recognize the others, except for Billy Preston because he played with The Beatles). A film by Albert Brooks? Jim Henson and his Muppets?

Now, fans of the National Lampoon Radio Hour (1973 – 1974) were familiar with cast members Chevy, Belushi and Gilda. Its creator, Michael O’Donoghue, a jaded, cynical anarchist, went on to be SNL’s cutting-edge head writer for three years. His tussles with the network censors’ red pens must have been headache-inducing.

Reitman’s condensed depiction of legendary writers Al Franken, Tom Davis, Alan Zweibel, and Herb Sargent (Tracy Letts!) is noteworthy. While not all sketch development is accurate timeline-wise, the inclusion of Aykroyd’s Julia Child parody where she gushes blood from a cut artery during a taping of “The French Chef” is a good one to mention – and so is the construction workers’ gender reversal cat calls with Aykroyd as the objectified — even though both were on later shows.

Reitman’s reverence for all things SNL is admirable – and understandable, for it continues to be a force in the cultural zeitgeist. His father, Ivan, directed Aykroyd and Bill Murray in 1984’s biggest box-office hit “Ghostbusters” and other movies featuring alumni.

Jason Reitman’s previous comedies “Juno” and “Up in the Air” showed much potential, so it’s nice to see him navigate this incredible moment in time and do so with a clear-cut vision and savvy casting choices.

Fellow nepo baby (in a good way) Cooper Hoffman, Philip Seymour Hoffman’s son, is a perfect foil as ambitious Dick Ebersol, rocking the polyester suits as the late-night director of programming. (He’d later go on to produce SNL after Michaels’ left.)

Portraying the old guard is Willem Dafoe as humorless network vice president of talent relations Bob Tebet, who’d be happy to run another Johnny Carson “Tonight Show” re-run instead.

Nicholas Braun as Andy Kaufman

In small but essential roles, musical wunderkind Jon Batiste plays musical guest Billy Preston and Nicholas Braun (Emmy-nominated Cousin Greg on “Succession”) astutely characterizes up-and-coming Andy Kaufman’s brilliant schtick and as a naïve but talented puppeteer Jim Henson, clearly ahead of his time.

Matthew Rhys, Emmy winner for “The Americans,” is a snarling George Carlin who does not want to play nice with others in sketches.JK Simmons swoops in to steal his scenes as cantankerous old-guard comic Milton Berle, representing a different generational style.

Batiste also composed the propulsive original music score, which adds to the fast-paced freewheeling vibe. Reitman’s go-to cinematographer Eric Steelberg offers insight into the adrenaline rush while Jess Gonchor’s production design overstuffs Studio 8H plausibly.

An engaging whirlwind representing a collaborative creative process that sparked a comedic revolution, “Saturday Night” takes us back to an extraordinary leap of faith that resonates today. No need to give us a roadmap of the past half-century because we know the rest of its remarkable history.

Lamorne Morris as Garrett Morris.

Notes: To learn more, “Live from New York: The Complete, Uncensored History of Saturday Night Live as Told by Its Stars, Writers, and Guests,” first published in 2002, is a definitive oral history by James Andrew Miller and Tom Shales.

Two documentaries on the short, brilliant and troubled lives of two of the show’s biggest stars, “Belushi” (2020) and “Love, Gilda” (2018) are available to watch on subscription streaming services, and for digital rental.

“Saturday Night” is a 2024 comedy based on a true story, directed by Jason Reitman, and starring Gabriel LaBelle, Cooper Hoffman, Willem Dafoe, Cory Michael Smith, Lamorne Morris, Rachel Sennott, Matt Wood, Dylan O’Brien, Ella Hunt, Kim Matula, Emily Fairn, Nicholas Braun, Jon Batiste, Tommy Dewey and JK Simmons. It is rated R for language throughout, sexual references, some drug use and brief graphic nudity and the run time is 1 hour, 49 minutes. It opened in theaters Oct. 11. Lynn’s Grade: A-.

‘The Fabelmans’ Lacks That Special Spark of Most Top-Shelf Spielberg Movies

‘The Fabelmans’ Lacks That Special Spark of Most Top-Shelf Spielberg Movies

By Lynn Venhaus

Dear Mr. Spielberg,
Your movies have given my family and I so much joy over the years. I was away at college the summer of 1975 when one warm July night, my roommates and I went to see “Jaws” at the local movie theater. You invented the summer blockbuster, and ever since, all your movies have been an event.

I introduced my children to “E.T.” first, and I still tear up every time I watch it. “Jurassic Park,” “Saving Private Ryan,” “Schindler’s List,” “Raiders of the Lost Ark” and “Lincoln” — you’ve made some of the best films of all-time.

“Bridge of Spies,” “Catch Me If You Can,” and “The Post” are personal favorites, and your adaptation of “West Side Story” was at the top of my Ten Best List last year.

So, I had very high expectations for “The Fabelmans,” especially after viewing the “Spielberg” documentary on HBO. I know it’s “loosely based on your childhood, from age 7 to 18, and it explores the power of how movies help us see the truth about each other and ourselves.

Maybe that adage, “Never meet your heroes” applies here.

Because, while I find the performances exceptional and the production elements superb, your retelling of your ‘semi-autobiographical’ coming-of-age story isn’t as magical as your other films.

THE FABELMANS, from left: Paul Dano, Michelle Williams, Seth Rogen, 2022. ph: Merie Weismiller Wallace / © Universal Pictures / Courtesy Everett Collection

Yes, you followed your dream, but turns out your childhood isn’t all that extraordinary. Except for the reason your parents’ marriage broke up, your early life was like many other kids – divorced parents, dad moving because of work, an artistic kid being bullied and for Jews, antisemitism.

Basically, you had a rather “Leave It to Beaver” childhood, not as vanilla as many a WASP, but fairly typical — your parents loved you and your sisters, attempted to give you a wonderful life, and your dad was a genius engineer.

As a filmmaker, you were too close to the subject matter, and needed to get out of your own way.

When you concentrate on discovering your passion for filmmaking and finding ways to tell a story, now that’s fascinating.

But all that high school drama with the mean jocks, yawn. Except for the Ditch Day film, which really highlighted your gifts and how people are revealed upon observation.

But — two and a half hours? And the best scene is at the end! You stuck the landing beautifully – and that little nod to Charlie Chaplin’s The Tramp before the credits roll, chef’s kiss.

That final encounter on the studio lot gives the film the zest that was missing – and it was the spark that propelled your drive to be in the business.

It’s the best cameo of the year, no spoiler from me!

Gabriel LaBelle as Sammy Fabelman

Your life as a golden boy of cinema has introduced you – and us — to worlds of wonder, and we feel like we know you.

The film is heartfelt and shows how much love you have for your family and the movie-making process. Artists must create and you have been able to make an impact on a global scale. Truly remarkable.

You will be remembered as one of the greatest directors of all time, and we see the effort.

I will wait for the sequel that discloses your early career milestones, breaking through in Hollywood, and the people that shaped you along the way. Now, that story may be the extraordinary one that I was expecting here.

Sincerely, an unabashed fan whose favorite thing is discussing entertainment, and thinks that all of life’s riddles are answered in the movies.

Back to the nuts and bolts for review purposes — Gabriel LaBelle makes quite an introduction as gawky young Sammy Fabelman, who makes movies using his Boy Scout troop as cast and crew.

Paul Dano and Michelle Williams are well-suited to play parents Burt and Mitzi, who bring up four children born during the post-World War II Baby Boom and moved the family from New Jersey to Arizona to Southern California before finally divorcing.

Williams has flashes of brilliance as the mercurial mom, a classically trained pianist whose concert days are past, but the longing isn’t. She’s in love with Bennie (Seth Rogen), Burt’s best friend, and they are eventually together.

When Sammy’s keen eye discovers a little too intimate interaction between the pair during a family camping trip, he’s devastated, resulting in viewing his mother differently. It’s a powerful scene when he shows, not tells, her what he saw.

That conflict is a major focus of the original screenplay co-penned by Spielberg and collaborator Tony Kushner.

A smaller one is his computer whiz dad thinking filmmaking is a hobby and that Sammy needs a more stable career pursuit, but that is a standard trope between artists and scientists. Dano’s quiet demeanor effectively contrasts with Williams’ more flamboyant personality.

Appearing briefly in a slight but showy role that screams supporting actor nomination, Judd Hirsch is an eccentric uncle who used to be in the circus and recognizes a kindred spirit in Sammy.

Young Sammy, who must react to his first film, “The Greatest Show on Earth,” in 1952, is played by standout Mateo Zoryan.

Janusz Kaminski’s cinematography is splendid, so is Rick Carter’s production design, and John Williams has produced a fine score.

But, there is just something nagging about a film that I wanted to be great, but is just good.

“The Fabelmans” is a 2022 drama directed by Steven Spielberg and stars Gabriel LaBelle, Michelle Williams, Paul Dano, Judd Hirsch and Seth Rogen. Rated PG-13 for some strong language, thematic elements, brief violence, and drug use, and run time is 2 hours, 31 minutes. In theaters Nov. 23. Lynn’s Grade: B