Saturday Night (dir. Jason Reitman)

By: Adam Freed

For a half century Saturday Night Live has been an American institution, so deeply embedded in the entertainment landscape that its origins seem to predate television. The show has ebbed and flowed in popularity and effectiveness through the decades, but what has not wavered is the indisputable impact “SNL” has had on the comedic landscape.  As SNL approaches its golden anniversary, 2024 feels like the ideal moment to stop and reflect upon the arduous battle the program had to fight in order to earn its crown as NBC’s weekend talisman.  Saturday Night, director Jason Reitman’s propulsively entertaining retrospective wisely narrows its scope to the chaotic 90 minutes leading up to the first ever episode of Lorne Michaels satirical wonder.    

Shot in a period specific grainy handheld, Saturday Night is a textured ode to comedic origins.  Featuring performances representing some of the august names in comedy history; Lorne Michaels, Chevy Chase, Dan Aykroyd, John Belushi, Gilda Radner, Jane Curtain and Andy Kaufman, Saturday Night tiptoes the precarious tightrope between empty caricature and character homage brilliantly.  The sublime collection of young talent Reitman has at his disposal in what is certainly the director’s best film, is a testimony to SNL’s impact as well as the strength of Saturday Night’s propulsive script.  The promising ensemble film is fronted by Gabrielle LaBelle (The Fabelmans) who perfectly embodies the manic optimism of Lorne Micheals who feels very much the ringleader of the island of misfits.  By LaBelle’s side are Cory Michael Smith (Chase), Ella Hunt (Radner), Matt Wood (Belushi) and Dylan O’Brien (Aykroyd) who harness the unbridled joy and necessary ego of the comedic legends without ever allowing their performances to devolve into lazy impressionism.     

The most impressive feat performed by Saturday Night is the film’s ability to build a healthy suspense surrounding its ability to get the first episode to air, despite audiences possessing the gift of hindsight.  Jason Reitman, who is still refining the art of cinematic grace; does provide a wonderful, albeit obvious metaphor as SNL’s main stage is assembled brick by brick throughout the film.  Leaving fodder for its detractors, the frantically paced film devolves into short lived bouts of self seriousness, in addition to noticeably underwriting its female cast.  Most glaring is the minimization of a wonderful performance from Rachel Sennott (Shiva Baby, Bottoms) who captures the quiet strength of comedy writer and former Lorne Michaels partner, Rosie Shuster with ease. Ultimately Saturday Night is a successful film about one of television history’s most unlikely success stories.  There is something oddly satisfying in witnessing a  dynasty growing out of an underdog story.     

Target Score: 7/10  Overcoming momentary lapses into dramatic malaise, Jason Reitman’s Saturday Night is a must see for lovers of SNL’s late night empire.  The film features a handful of impressive performances from a gifted young cast wiley enough to elevate what may have been cheap impersonation in lesser hands.  On the back of a sharply written, propulsive script, Saturday Night feels ready for the big time.