Saturday Night, which presents what I assume to be a highly fictionalized account of the 90 minutes before the 1975 premiere of Saturday Night Live, did the impossible.  It made me feel sorry for Chevy Chase.

Don’t get me wrong.  As played by Cory Michael Smith, Chevy Chase is not presented as being a sympathetic character in Saturday Night.  The film acknowledges his talent as a comedian and that he was the first star to come out of Saturday Night Live.  But he’s still presented as being arrogant, self-centered, rude, and often deliberately self-destructive.  The film portrays Chevy Chase in much the same way that most people describe him in real life.  Chevy Chase has apparently always been a difficult person to work with and, I suppose to his credit, it doesn’t appear that Chevy himself has ever claimed anything different.  But Saturday Night so piles on Chevy that even I felt it went a bit overboard.  It’s one thing to present Chevy as being the arrogant jerk that he’s admitted to being.  It’s another thing to fill the movie with moments in which people stop what they’re doing to tell Chevy that his career is going to start strong and then fade due to his bad behavior.  At one point, the NBC executive played by Willem DaFoe comments that Chevy could host his own late night talk show.  We’re all meant to laugh because eventually, Chevy Chase did host a late night talk show and it was such a disaster that it’s still, decades after its cancellation, held up as a prime example of a bad career move.  But, in the context of the film, it feels a bit like overkill.  It’s one thing to be honest about someone being a pain in the ass.  It’s another thing to repeatedly kick someone while they’re down.  Chevy, much like the NBC censor who is chanted down in the film’s cringiest moment, simply feels like too easy of a target.

Of course, Saturday Night is full of moments that are meant to comment more on the future than on whatever was going on in 1975.  The whole point of the film is that Saturday Night Live, a show that the network has little faith in and which is being produced by a hyperactive visionary (Gabriel LaBelle as Lorne Michaels) who seems to be making it up as he goes along, is eventually going to become a cultural phenomenon.  Every time someone tries to convince Lorne Michaels to cancel the premiere or to miss with the format, we’re meant to think to ourselves, “Little do they know that this show is going to be huge for several decades before eventually just becoming another predictable part of the media landscape.” The scenes of Garrett Morris (Lamorne Morris) wandering around the set and asking, “What is my purpose?  Why am I here?” may not feel like something that would have happened in 1975 but they’re there because it’s something that people were asking about in 2024.  Watching the film, it helps if you know something about the history of Saturday Night Live.  It helps to know that Dan Aykryod (Dylan O’Brien), John Belushi (Matt Wood), and Gilda Radner (Ella Hunt) are going to carry the show after Chevy Chase leaves.  It helps to know that Billy Crystal (Nicholas Podany) is going to become a Hollywood mainstay even after he gets dumped from the premiere for refusing to cut any material out of his act.  It helps to know that the mellow, pot-smoking band leader is actually Paul Shaffer (Paul Rust).  It helps to know that Lorne Michael and Dick Ebersol (Cooper Hoffman, giving one of the best performances in the film) are going to become powerful names in American television.  The film may be set in 1975 but it’s actually about all the years to come.

It’s still an entertaining and well-made film, one that I enjoyed watching.  Saturday Night manages to create the illusion of playing out in real time and director Jason Reitman captures the excitement of being backstage before opening night.  It’s an excitement that everyone can relate to, whether their opening night was on television, Broadway, or just a community theater in their small college town.  The backstage chaos of Saturday Night is wonderfully choreographed and, most importantly, it captures the feeling of being young, idealistic, and convinced that you can change the world.  Reitman also gets good performances from his cast, with Cooper Hoffman, Dylan O’Brien, and Rachel Sennott (playing writer Rosie Shuster) as stand-outs.  That said, the film is pretty much stolen by J.K. Simmons, who has a memorably lecherous cameo as Milton Berle and who provides Chevy Chase with a look at what waits for him in the future.  If the film is never quite as poignant as it wants to be, that’s because Saturday Night Live is no longer the cultural powerhouse that it once was.  If Saturday Night had been released just 18 years ago, before SNL became best-known as the place where Alec Baldwin hides out from bad publicity, it would probably be an Oscar front runner right now.  Released today, it’s just makes one feel a little bit sad.  The show that was built on never selling out eventually sold out.