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Mr. Saturday Night

Mr. Saturday Night

Comedy · Drama · 1992

Buddy Young was the comic's comic, beloved by everyone. Now, playing to miniscule crowds in nursing homes, it seems like everybody but Buddy realizes that he should retire. As Buddy looks for work in show business, he realizes that the rest of the world has forgotten the golden days of Buddy Young, and that there just may not be room in the business for an old comic like himself.

Movie details

Mr. Saturday Night

“It's lonely at the middle.”

1992 Comedy · Drama 1h 59m

Critical arithmetic

One number, for now.

TMDB

5.9 / 10

Community rating

Buddy Young was the comic's comic, beloved by everyone. Now, playing to miniscule crowds in nursing homes, it seems like everybody but Buddy realizes that he should retire. As Buddy looks for work in show business, he realizes that the rest of the world has forgotten the golden days of Buddy Young, and that there just may not be room in the business for an old comic like himself.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Mr. Saturday Night?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Billy Crystal

Written by

Billy Crystal · Babaloo Mandel · Lowell Ganz

Billy Crystal

Billy Crystal

Buddy Young Jr.

David Paymer

David Paymer

Stan

Julie Warner

Julie Warner

Elaine

Helen Hunt

Helen Hunt

Annie Wells

Mary Mara

Mary Mara

Susan

Jerry Orbach

Jerry Orbach

Phil Gussman

Ron Silver

Ron Silver

Larry Meyerson

Court is in session

Put Mr. Saturday Night on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.