Jason Reitman Chronicles the Lead-Up to First ‘SNL’ Show: Fresh or Frustrating?

It used to be called a “high concept” movie, back when *Saturday Night Live* was the hottest thing on television. Imagine making a film about the origins of that iconic late-night comedy show, but limiting the timeframe to just the 90 minutes before the first episode aired in October 1975. The movie follows the stresses faced by the show’s creators, the rehearsals of the stars, practices of sketches, musicians, and the fretting network executives. With Jason Reitman at the helm, known for memorable comic films like *Thank You For Smoking*, *Juno*, and *Up in the Air*, there’s a keen interest in how he and co-writer Gil Kenan bring this concept to life.

Going into the movie, there are high expectations. However, not all are met. While the cast works hard to deliver some antic moments, many of the riffs fall flat. Given the 90-95 minute runtime, there might be an excess of characters, making it hard to sustain the irreverent humor. Those who lived through *SNL*’s early years will appreciate this look back, but younger viewers might not find it as engaging.

The film smartly centers on the show’s creator, Lorne Michaels, portrayed with energetic befuddlement by Gabriel LaBelle, who previously played Steven Spielberg’s alter ego in *The Fabelmans*. Rachel Sennott appears as Rosie Shuster, Michaels’ then-wife and an early sketch contributor. Unfortunately, her character isn’t as well-developed as it could be.

This lack of development extends to the actors portraying the *SNL* stars of that first season. While some bear close physical resemblance to the original comics, others don’t match as convincingly. Cory Michael Smith captures the charm of Chevy Chase, and Dylan O’Brien offers a vivid Dan Aykroyd. However, Matt Wood’s John Belushi feels mishandled, leaving him floundering. Conversely, Lamorne Morris delivers a sharp performance as Garrett Morris, the original ensemble’s sole Black performer. The actresses portraying Gilda Radner, Laraine Newman, and Jane Curtin are somewhat sidelined in comparison.

Some well-known actors in the cast leave a lasting impression. Willem Dafoe plays a network executive wary of this youth-oriented, irreverent show, blending authority with wisdom. A scene where Michaels and the cast pitch to visiting execs highlights the entertainment industry’s history, showcasing a room full of men and one flummoxed female censor dealing with the show’s sometimes raunchy humor.

J.K. Simmons stands out in a couple of scenes as Milton Berle, a former king of television comedy, who visits the *SNL* set. While possibly apocryphal, Berle’s resentment towards being supplanted by young upstarts is palpable. There’s even a joke about Berle’s well-known physical endowments. Another generational character, Johnny Carson, is also in the mix, heard angrily berating Michaels for undermining him in an irate phone call.

The film is smoothly edited, but the sound mix poses issues. At times, the music is excessively loud, overshadowing dialogue. Whether this was an indulgence of composer Jon Batiste, who also appears as Billy Preston, or a technical glitch, it’s an area needing correction. Audience members at the first screening noted the same issue. In a film celebrating the spirited nature of sketch comedy, clear dialogue is crucial. Despite many moments of freshness and creativity, these issues leave the film ultimately disappointing.

Source: Particle News