Father Guido Sarducci, the comedic creation of Don Novello, brought his unique brand of satirical commentary to Saturday Night Live (SNL) on January 14, 1984. This episode, from SNL’s ninth season, is a curious blend of political humor, celebrity cameos, and the offbeat charm that Sarducci embodies. Let’s dive into a review of this episode, segment by segment, exploring why it remains a memorable, if somewhat unconventional, entry in SNL history.
The cold open immediately sets a politically charged tone with the “SNL National Phone-In Democratic Primary.” Featuring Joe Piscopo and Mary Gross as news anchors, the sketch is a direct parody of the political climate of the 1984 election year. The concept of a phone-in primary, while absurd, cleverly mirrors the growing media influence in political campaigns. The humor lies in the chaotic nature of live television and the slightly unhinged energy of Piscopo and Gross. It’s a segment that, while not laugh-out-loud funny, effectively captures the era’s political zeitgeist and SNL’s willingness to engage with current events.
The monologue is where Father Guido Sarducci truly takes center stage. Novello’s Sarducci, a former priest with dubious credentials and an even more dubious understanding of world events, is an inspired choice for host. His rambling, seemingly improvised style is perfectly suited for the monologue format. The jokes about Central America versus Canada, and the geographical absurdity of Manhattan being further from Brooklyn than Canada is from the US, showcase Sarducci’s signature comedic approach: presenting skewed logic with deadpan delivery. It’s a monologue that grows funnier as it progresses, catching the audience off guard with its unexpected observations.
“Buckwheat’s Ghost” offers a surreal and slightly bizarre sketch premise. The idea of Alfalfa from the Little Rascals being haunted by Buckwheat’s ghost when approached for a tell-all book is inherently absurd. The humor is amplified by Gary Kroeger’s portrayal of Buckwheat’s translator, interpreting Buckwheat’s “gibberish” for confused publishers. The sketch takes a dark turn with a casual mention of Darla’s death, creating a strange and unsettling comedic tone. While perhaps not a home run, “Buckwheat’s Ghost” is memorable for its sheer oddity and commitment to its bizarre premise.
“What’s New” provides a musical interlude with Julia Louis-Dreyfus impersonating Linda Ronstadt. This sketch is a sharp parody of Ronstadt’s musical style and public persona. Louis-Dreyfus showcases her vocal talents, delivering funny and pointed lyrics. The sketch feels reminiscent of classic SNL musical parodies, offering a blend of musical performance and comedic character work. It’s a solid segment that highlights Louis-Dreyfus’ versatility and SNL’s knack for musical satire.
“Countdown 84” is the centerpiece of the episode, and where Father Guido Sarducci’s hosting really shines. This recurring segment becomes a running gag throughout the night, acting as a substitute for the usual “Weekend Update.” The premise of a viewer phone-in poll for Democratic candidates is inherently satirical, and Sarducci’s commentary injects a layer of absurdity. His nomination of ZZ Top for the Democratic ticket and the subsequent inclusion of a ZZ Top music video into the political broadcast is a stroke of comedic genius.
The segment escalates into a montage of Democratic candidates set to ZZ Top’s “Sharp Dressed Man,” further blurring the lines between political satire and pop culture absurdity. Julia Louis-Dreyfus debuts her Nina Blackwood impression as an MTV VJ, adding another layer of 1980s media parody to the mix. “Countdown 84” is not just a sketch; it’s a comedic framework for the entire episode, showcasing Sarducci’s ability to blend political commentary with surreal humor.
“Tasteless Choice” is a brief but impactful sketch featuring Joe Piscopo and Mary Gross. The dark humor of Piscopo’s sudden confession to sleeping with their daughter and Gross’s nonchalant response (“I’ll make some coffee”) is both shocking and hilarious. The sketch quickly transitions into a coffee commercial parody, adding another layer of absurdity. “Tasteless Choice” is a prime example of SNL’s ability to deliver sharp, uncomfortable humor in short bursts.
“The Man Who Loved Swimmin'” returns to Father Guido Sarducci, this time in a movie trailer parody. The sketch plays on Sarducci’s vow of chastity, depicting him escaping temptation by constantly swimming. Julia Louis-Dreyfus makes another appearance, adding to the sketch’s comedic dynamic. While it might become slightly repetitive, the visual humor of Sarducci in a pool and his reactions to temptation are consistently amusing.
“Nice Boys Don’t Get Girls Pregnant” features Eddie Murphy as Michael Jackson. This short sketch is a parody of Jackson’s public image and musical style. While Murphy’s impression might be considered somewhat generic by today’s standards, it captures the essence of Jackson’s persona at the time. The sketch is brief and perhaps not the most memorable, but it’s a snapshot of SNL’s approach to pop culture parody in the 1980s.
Steven Wright’s stand-up segment is a welcome addition to the episode. Wright’s unique brand of deadpan, observational humor is perfectly showcased in his brief set. His one-liners, delivered with impeccable timing and a complete lack of affectation, are consistently hilarious. Wright’s appearance provides a change of pace from the sketch comedy and highlights the episode’s eclectic comedic sensibilities.
“Countdown 84” returns, this time with Brad Hall in an anchorman role, interviewing Father Guido Sarducci “on the street.” This segment further develops the running gag of the phone-in poll and Sarducci’s unconventional approach to political reporting. The humor comes from the contrast between Hall’s straight-laced newsman and Sarducci’s rambling, off-topic interviews. It reinforces the episode’s overall comedic theme of blending political satire with absurdist characters.
“Airport” features Father Guido Sarducci as a traveler dealing with a delayed flight. This sketch allows Novello to showcase Sarducci’s comedic frustration and quick temper. Jim Belushi appears as a friendly TransEastern employee, creating a classic comedic pairing of contrasting personalities. The sketch is a slice-of-life piece, finding humor in everyday frustrations and the quirky interactions between people in stressful situations.
The final “Phone-In Results” segment brings the “Countdown 84” storyline to a close. Dick Ebersol, then-president of NBC Sports, makes a cameo appearance to deliver the results, announcing ZZ Top as the winner. The absurdity of a rock band winning a Democratic primary poll is the ultimate punchline of the episode’s running gag. The appearance of the cast and musical guest holding candidate signs adds a final visual flourish to the comedic chaos.
Overall, the Father Guido Sarducci hosted SNL episode is a unique and entertaining entry in the show’s history. While perhaps not a consistently laugh-riot episode, it’s held together by the charm and comedic persona of Sarducci himself and the clever “Countdown 84” framing device. Julia Louis-Dreyfus is a standout cast member in this episode, showcasing her versatility in multiple sketches. The episode captures the spirit of 1980s SNL, blending political satire, pop culture parody, and offbeat humor in a way that remains engaging and amusing decades later. It’s a testament to SNL’s willingness to experiment with unconventional hosts and comedic formats, resulting in an episode that is both a product of its time and a timeless example of comedic television.
