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Meet the rest of the cast and their real-life counterparts
Tale
On October 11, 1975 at 11:30 PM, a group of young comedians and writers changed television forever. Find out what happened behind the scenes in the 90 minutes before Saturday Night Live (1975) first aired. Matt Wood stars as John Belushi in the film Saturday Night.
In reality, he appeared immediately
, Dan Aykroyd was the only original SNL cast member to read the script. As the show begins, John Belushi enters the frame 39 seconds late through the door. Lorne Michaels: Listen, I’m Lorne Michaels, producer of “Saturday Night.” Doorman: All night long?
Lorne Michaels: [sarcastic] Yes, all night long
The film opens with a quote from Lorne Michaels: “The show doesn’t go on because it’s done, it goes on because it’s 11:30 PM.” Appeared in Eddie Murphy, the Black King of Hollywood (2023). Ixoo “Chickenweed” Chawz Written by Don Cento and Martin Garner Performed by Don Cento and Martin Garner. Saturday Night has some funny scenes and moments, and even in its first half it’s pretty engaging, like a biopic about the night of the first SNL (exactly 90 minutes, since the movie shows us the clock, that’s a mistake.
;I’ll come back to that) and Lorne Michaels getting sucked into every detail of the chaos before him, on a show he wasn’t even entirely sure what it was going to be
Smith as Chevy Chase (perhaps the most interesting character introduced in terms of how he’s set up and treated by other characters like Milton Berle) and the guy playing Dan Aykroyd probably come off the best and most engaging. Unfortunately, Reitman has that problem that sometimes befalls directors of biopics – and in his case, he probably knew one or two of these guys when he was in diapers – where the sense that this subject matter is SO important and what happened in this case would reverberate throughout the history of modern comedy, pop culture, and television as a medium… well, we *get* it, especially the first time you present it all (and by the third, fourth, or fifth time I lost count in the last third of it, especially everything involving Willem Dafoe’s character (he tries his best, but this guy is like so many others, just kidding), and second, if you happen to approach this with only a very casual admiration for “Saturday Night Live,” it can seem all the more fascinating. I get that feeling when I watch it with my better half, who has never watched a full episode of the 70s show (probably not many of you have either, let’s be honest).
, I know I didn’t see any until the DVD came out a few years ago) and came away not only unimpressed, but finding the John Belushi-esque performances downright irritating and the Jim Henson-esque ones downright offensive
I get that too, because unlike Chase, we don’t get a full sense (outside of probably the Weekend Update moment) of what Belushi had going for him as a mad comic genius, so he comes across as a rancid hunk of human flesh (without a shadow of actor Matt Wood), and by the time he gets to the skating in Rockefeller Center (in October, eh), Reitman has descended into sentimentality that is just garbage and unaffecting. If you feel the excitement coming on from the latter parts of this, I get it, because it’s easy to get carried away, because Reitman has already reshaped and reshaped so many stories in this one-night-only-omg-athon, so some people may need that release. I found that those moments where Reitman and his team look at this story and say, “Wow, that was GROUNDBREAKING, guys”; the glasses detract from what’s really working here, which is showing the smaller moments and processes – again, when you’re showing us how deranged and confrontational people could get BTS and the myriad problems that came with making things for TV in 1975, instead of telling us – and building real character dynamics, which are hit or miss.
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