In October of 1975, most of the popular shows on television looked backward. The country was emerging from the chaos of the Vietnam War, the fall of the Nixon administration, economic misery, and civil rights protests. It should not be a surprise that the most watched shows were things like Laverne and Shirley, Happy Days, and the Waltons — misty-eyed nostalgia for the fun of the malt shop, the slapstick antics of the gals at the bottling plant, and the family bliss of the good ol’ Depression days. There were some controversial shows as well. A few groundbreaking comedies–All in the Family, MASH, Maude, and Mary Tyler Moore–all pushed the envelope in different ways. But more shows yearned for simpler times.
This was the environment in which Lorne Michaels pitched the idea of Saturday Night Live to NBC executives. The movie Saturday Night describes those precarious ninety minutes before the show first went on the air, when maybe it still might not have made it to the air. It’s a suspense-filled narrative, as Michaels (Gabriel Labelle) struggles with technical problems, network pressures, friction among the cast, too much content, and an impending sense of doom. If you’re under forty, you’ll find the behind-the-scenes narrative fascinating and wonder how the chuckleheads ever got this thing in front of the American public. But if you’re old enough to remember the times, you’ll find it holds a mirror up to what those times were really like. Some of the reviews which have criticized the movie as too mild were clearly written by those who don’t remember. I do.
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