Saturday Night surprised and delighted me much more than I anticipated. Directed by Jason Reitman, the film captures the whirlwind of chaos and creativity just before the first-ever live airing of Saturday Night Live (SNL). Set in pseudo-real-time over 90 minutes, the film provides a vibrant and energetic window into a legendary moment in television history, distilling a chaotic series of events into a single night rather than sprawling over years or decades. While it's easy to see that much of this is fanciful and exaggerated for cinematic effect, that only enhances the experience rather than detracting from it.

The extraordinary cast makes Saturday Night stand out, each actor bringing a distinct energy that helps recreate the offbeat humor and madness that made SNL what it was. The film's ensemble includes some excellent performances from actors portraying the original Not Ready for Primetime Players. It feels like a love letter to fans of the early show. Still, even if you're only loosely familiar with the iconic sketches and characters, the performances are infectious enough to keep you entertained. The cast gels incredibly well, playing off each other in a way that makes the frenetic backstage chaos feel all the more real.

From Gabriel Labelle's portrayal of Lorne Michaels, the mastermind behind SNL, to Dylan O'Brien's charming performance as Dan Aykroyd, there's a palpable sense that the actors are having as much fun performing as the real-life stars likely did back in the day. Labelle gives Michaels a droll, understated presence, anchoring the more manic antics of the cast around him.

Corey Michael Smith delivers a standout performance as Chevy Chase, perfectly embodying the physical comedy and aloof charisma that would make Chase an early SNL star. Nicholas Braun pulls double duty as both Jim Henson and Andy Kaufman, two very different comedic forces, and he impressively manages to capture the oddball genius of Kaufman while channeling Henson's reserved creativity. I could go on and on about each member of the cast here. If there's any criticism to be made regarding the cast, it is that there are just so many excellent characters that it's near impossible to give any of them their just due of screen time.

The film doesn't just rely on its cast to keep the energy going, though. Reitman's direction is wonderfully kinetic, using Paul Thomas Anderson-style long tracking shots and whip pans to ramp up the pace and urgency. The decision to present the events in "real-time" is a clever choice, giving the film a ticking-clock intensity that mirrors the pressure of preparing for a live broadcast. From the quick scene changes to the overlapping dialogue, everything is designed to immerse the audience in the breakneck pace of live television production. It's the kind of film that constantly feels on the verge of flying off the rails, but Reitman and his team keep everything balanced enough to stay on track.

Visually, Saturday Night is a treat. The film's aesthetic is heavily indebted to the look and feel of 1970s New York, with Reitman opting for 16mm cinematography to give the movie a textured, vintage look. The graininess of the 16mm format adds to the authenticity of the period, enhancing the sense of being transported back to the era when everything was being done on the fly. It's a beautiful touch that complements the larger-than-life personalities on screen.

The script, written by Reitman and Gil Kenan, is sharp and filled with callbacks, setups, and payoffs that offer a rewarding audience experience. While some viewers' enjoyment may vary depending on how much they know about that era of comedy, the film doesn't feel entirely inaccessible for those less familiar.

Willem Dafoe commands the screen as David Tebet, the no-nonsense NBC executive who isn't just overseeing the show but holding its entire fate in his hands. With the slightest hint of chaos, Tebet can pull the plug on the first-ever Saturday Night Live and swap in a Johnny Carson rerun without batting an eye. Dafoe infuses the role with an undercurrent of quiet menace, his presence a constant reminder that one wrong move could spell the end before the show even begins. His tense exchanges with Labelle's Lorne Michaels crackle with unease, perfectly capturing the delicate dance between corporate power and artistic freedom. Even when Dafoe isn't on screen, the looming image of the Carson tape, primed to take over the airwaves, serves as a haunting symbol of the precariousness of live television, heightening the film's sense of urgency and suspense.

Reitman smartly condenses a broad historical narrative into one frenetic night. We're asked to believe that all of these things happened just before the very first airing of SNL, but that suspension of disbelief is part of the fun. The film doesn't aim to be a documentary, nor does it attempt to be a sweeping historical epic. Instead, it hones in on the excitement, zaniness, and sheer creative energy that must have fueled that first live show. In doing so, Saturday Night captures the raw spirit of SNL's origins, where brilliance and chaos were in constant competition. The production team, from the writers to the stagehands, is scrambling to ensure everything goes off without a hitch despite the mounting disasters around them. Reitman's direction brings that to life with long takes that flow seamlessly from one chaotic moment to the next.

At the packed VIFF theater, Saturday Night was a crowd-pleaser, with laughter and waves of nostalgia rippling through the audience. It's the kind of film that feels like a celebration of early SNL for devoted fans while also standing as a finely crafted cinematic experience on its own. With its vibrant cast, exhilarating 16mm aesthetic, and inventive direction, Jason Reitman has created a love letter to the unpredictable, exhilarating spirit of live television. From start to finish, Saturday Night is an electrifying tribute to the high-wire act of live entertainment and a thoroughly enjoyable ride.

— 4.5 / 5 ⭐