Ah, the great Nordic beauty Candice Bergen.
The first female host in SNL history (four episodes in).
This is quite a good episode.
But we start off with the first wholehearted attempt at Gerald Ford klutz (clumsy) humor with Chevy Chase.
Yes, before there was the fumbling, bumbling, broken banjo known as George W. Bush, there was Gerald Ford.
The humor had been leaning this way since the start of the season.
And finally Chevy got to do a proper piece (the start to the show, no less).
We also get the Landshark skit in this era of Spielberg-induced panic.
We must remember that Jaws had come out that summer (a few months prior to this show).
But the overwhelming star of this episode was undoubtedly Andy Kaufman (again).
It is the Foreign Man character (which was parlayed into his Taxi success as Latka).
Andy is a revelation here. Yes, you need to be a little sick in the head to do comedy like Andy Kaufman.
The whole point, I think, was in how much he could get away with.
It was the game.
How far could he push it.
And so Foreign Man almost starts crying. It is a miracle moment in television.
All great practical jokers (foremost among them Orson Welles) had this ability to suspend disbelief, but Kaufman was doing it live…out on a limb.
An excursion on a wobbly rail (to quote Cecil Taylor).
And so Candice was right when she introduced Andy as a genius.
What could follow that?!?
Well, sadly Esther Phillips starts off with a fast number.
Esther was the musical guest.
A fine singing voice, but the most annoying, lingering vibrato I’ve ever heard…like a WWI fighter plane…a machine-gun at the end of every phrase.
She was, no doubt, imitating the Billie Holiday of Lady in Satin (that last, great album of drugged-out soul).
But the problem is that the Billie Holiday vibrato doesn’t work on fast songs.
Yet, Esther uses it anyway.
And so Esther’s first number comes off as a head-tilting performance art oddity equal to Andy Kaufman (only I don’t think she knew it).
But all sins are forgiven later when Esther does a ballad.
Ahh…that’s the right repertoire.
Albert Brooks regresses to the mean with his film in this episode (a mashup of possible bullpen shows for NBC…including the awful-in-all-ways Black Vet).
All in all, this is a fine show. Aykroyd is great. Belushi is great.
In fact, the most touching scene is a talk between Gilda Radner and Candice Bergen about femininity/feminism.
Gilda Radner was such a beautiful person…such soul!
What a show!!!
Brilliant discussion of Andy Kaufman. (I never would’ve imagined connected him with Orson Welles, though it strangely fits.) In hindsight I often forget he was actually on television and decently well-known.