Saturday Night, the newest film from director Jason Reitman, opens with a famous quote by Saturday Night Live creator Lorne Michaels: “The show doesn’t go on because it’s ready; it goes on because it’s 11:30.” This quote has guided SNL through fifty years of episodes. Given that each show is prepared in less than a week, it’s impressive that any episode ever airs.
Sometimes, the show features top comedians with jokes and political commentary that become iconic. At other times, it’s a mix of whatever could be quickly put together. For those who think “Saturday Night Live isn’t relevant or funny anymore,” remember that the show has always been a mixed bag, even when you grew up with it.
In Saturday Night, Reitman, who co-wrote the film with Gil Kenan, focuses on capturing the hectic process of preparing for an SNL show.
Rather than having young actors impersonate comedy legends or striving for a historically accurate retelling of the 90 minutes before SNL’s first episode, Reitman aims to show the frantic spirit of getting ready for a show that goes live at 11:30 P.M. It’s often more chaotic than putting on a comedy show, making it a minor miracle that SNL has succeeded for nearly fifty years.
What Is ‘Saturday Night’ About?
Gabriel LaBelle (The Fabelmans) stars as the young Lorne Michaels, trying to convince NBC that his idea of a live comedy show with musical guests, movies, Muppets, and more is a good one. His producer, Dick Ebersol (Cooper Hoffman), is working to keep things on track and benefit the studio.
With only 90 minutes to go, it seems unlikely that Saturday Night will be ready to air. Network executives are pressuring Michaels, John Belushi (Matt Wood) hasn’t signed his contract, there are issues with lighting, bricks are still being laid, and Michaels hasn’t even decided how to shorten the show to an hour and a half. With so many problems, it seems Michaels’ project might not make it to air, no matter what time it is.
‘Saturday Night’ Is More Than Just a String of Impressions
The film begins by introducing the characters playing the original SNL cast without halting the story. The casting is excellent and aims to capture the spirit of the original cast without making direct impressions. For instance, Dylan O’Brien as Dan Aykroyd is an unusual choice, but O’Brien captures the essence of Aykroyd without overdoing the impression.
Matt Wood, Lamorne Morris (Garrett Morris), and Cory Michael Smith (Chevy Chase) match the spirit of the original actors without trying to copy them exactly. The film also portrays the three female cast members—Gilda Radner (Ella Hunt), Jane Curtin (Kim Matula), and Laraine Newman (Emily Fairn)—as a unified trio in a male-dominated environment.
Balancing Michaels’ frantic energy is Rosie Shuster (Rachel Sennott), his separated wife, showing that Shuster was a crucial support to Michaels and the show’s success.
‘Saturday Night’ Is More a Celebration Than a Factual Recreation – And That’s a Good Thing
Although Reitman and Kenan aim to base each character’s story on facts from the night of the first episode, the film doesn’t strive for a precise retelling. It exaggerates the intensity of Michaels’ experience, presenting a dramatized version of the events leading up to the show’s premiere.
Still from Saturday Night (Credit: Columbia Pictures)
Moments like Michaels explaining the show to network executive David Tebet (Willem Dafoe) or witnessing Belushi ice skate in a bee costume add to the narrative but may feel forced. These elements help create a more engaging story structure than the real-life chaos.
Saturday Night is Reitman’s best film since his previous works with Diablo Cody, such as 2018’s Tully and 2011’s Young Adult. Reitman builds tension through the constant stream of problems needing quick solutions. Jon Batiste’s score, featuring a steady drum beat, enhances the tension, similar to Birdman.
Reitman’s passion for SNL shines through, capturing the energy and challenge of creating this landmark episode of television. His dynamic camera work and editing contribute to a vibrant portrayal of the chaotic production process.
The film might be overwhelming for viewers unfamiliar with SNL and its history. It assumes a lot of knowledge about the show and its cast, which could be confusing for some. Despite this, Saturday Night is an exciting and funny tribute to Saturday Night Live.
It highlights the immense effort required to produce the show and celebrates its legacy and impact on comedy and television. Reitman’s film is one of his finest in years and will be shown at the Toronto International Film Festival before its U.S. release on September 27.
Jacques Audiard has a unique style in filmmaking. Each of his movies is different from the last. For example, he made a remarkable crime drama with A Prophet, a Western dramedy with The Sisters Brothers, and a fresh romantic drama with Rust and Bone. Audiard always makes sure his films are distinct and new.
His latest film, Emilia Pérez, is perhaps his most ambitious yet. It is a musical drug cartel drama with a story about transgender affirmation, all mixed with a melodramatic telenovela style. While Audiard is known for his daring choices, Emilia Pérez might be trying to do too much at once, even though it features strong performances by three lead actresses.
What Is Emilia Pérez About?
Rita (Zoe Saldaña) works as a lawyer in a big law firm but doesn’t get much recognition. One day, she receives a mysterious phone call, gets kidnapped, and meets Juan “Manitas” Del Monte (Karla Sofia Gascón), a Mexican cartel leader.
Manitas wants to leave the country and get sex reassignment surgery, a wish they’ve had since childhood. Manitas asks Rita to find the best place for this surgery and to set up Manitas’ wife, Jessi Del Monte (Selena Gomez), and their children for life without him.
Even after Rita helps Manitas transition into Emilia Pérez (also played by Gascón) and move Jessi’s family to Switzerland, Rita, Emilia, and Jessi become linked in unexpected ways.
Audiard focuses on these three fantastic female performances, each bold and surprising in its own way. Saldaña’s portrayal is free and lively, especially in the larger musical numbers.
Her opening performance sets the stage for the film’s style shifts, and her energetic songs let her fully embrace Audiard’s vision. Saldaña has many chances to shine in this role, showing a playful side that we haven’t seen from her before.
Selena Gomez’s role as Jessi is also notable, giving her one of her most mature performances. Jessi starts as Manitas’ wife, then mourns him, changes her situation, and possibly falls for another man with a questionable background (Édgar Ramírez as Gustavo Brun). Gomez may not get as much focus as the other two actresses, but she makes the most of her role when she is featured.
Karla Sofia Gascón delivers a standout performance as Emilia Pérez. Gascón’s portrayal of the character is powerful and nuanced. As Manitas, Gascón is a commanding figure. When Manitas becomes Emilia Pérez, Gascón continues to bring strength and depth to the role.
Despite Emilia Pérez’s melodramatic elements, Gascón grounds the character with authenticity. Her interactions with her children add a touching emotional core to the film, making it both real and moving. Gascón’s performance is likely to be remembered as one of the best of the year.
Emilia Pérez Might Be Too Ambitious For Its Own Good
This ambitious approach makes the film feel like a mix of various genres that never fully comes together. While Audiard’s creativity is admirable, it can make the film seem like a genre experiment rather than a cohesive story.
The musical elements of the film are affected by this ambition. There are long stretches without songs, making the musical aspect feel almost forgotten. When songs do appear, they often start and stop abruptly without leaving a strong impact.
Still from Emilia Perez (Credit: Netflix)
The musical numbers by Camille and the score by Clément Ducol are not always memorable. There are some standout moments, like the emotional song “Papa,” but the musical side of Emilia Pérez does not meet the film’s ambitious goals.
Despite this, Emilia Pérez showcases Audiard’s talent and his ability to draw remarkable performances from actors. His track record includes successes with Tahar Rahim, Marion Cotillard, and Antonythasan Jesuthasan, and he continues this trend with Saldaña, Gomez, and Gascón.
However, the film’s attempt to blend many styles and ideas does not always fit together well. Emilia Pérez is a bold effort, but its many elements do not always combine as effectively as they could. The film premiered at the Toronto International Film Festival and will be available for streaming on Netflix in the U.S. starting November 13.
