Saturday Night Live has a long and storied history of memorable hosts, but few are as unique and beloved as Father Guido Sarducci. Portrayed by the comedic genius Don Novello, Father Guido brought his signature blend of sardonic wit and faux-clerical charm to Studio 8H on January 14, 1984. This episode, from SNL’s ninth season, is a fascinating time capsule, showcasing not only Sarducci’s comedic talents but also the show’s evolving format and satirical edge during the 1980s. Let’s dive into a detailed look at this episode, highlighting the comedic highs and some of the more curious choices that defined this particular night in SNL history.
Cold Opening: SNL National Phone-In Democratic Primary
The episode kicked off with a rather unconventional cold opening, the “SNL National Phone-In Democratic Primary.” Hosted by Joe Piscopo and Mary Gross, this segment immediately signals that this episode is going to be different. It’s presented as a genuine, if slightly absurd, poll for viewers to call in and vote for their preferred Democratic candidate. This concept feels like a spiritual successor to previous SNL audience participation stunts like the Larry the Lobster vote, hinting at the show’s ongoing experimentation with live television and viewer engagement. The slightly awkward, ad-libbed banter between Piscopo and Gross adds to the segment’s slightly off-kilter charm, though it’s not designed to be a laugh-out-loud comedic piece. It primarily serves as a setup for the episode’s overarching theme: audience participation and a satirical look at the political process.
Monologue: Father Guido on pressing global issues
Father Guido Sarducci’s monologue is where the comedic energy truly ignites. The concept of a recurring character hosting the entire show was indeed a novel idea at the time, and Novello’s Sarducci proves to be a surprisingly effective host. His comedic persona, a priest with a decidedly laid-back and slightly cynical view of the world, is perfectly suited for satirical commentary. The monologue cleverly pivots from concerns about Central America to suggesting that perhaps Americans should be more worried about Canada – a humorous observation highlighting geographical proximity and misplaced anxieties. His comparison of the distance between Canada and the US to the perceived vastness between Manhattan and Brooklyn is a classic Sarducci-esque observation, finding humor in the mundane and unexpected. The monologue as a whole is a strong start, showcasing Novello’s comfortable stage presence and the enduring appeal of Father Guido Sarducci’s comedic perspective.
Buckwheat’s Ghost: Tell-all book troubles
The “Buckwheat’s Ghost” sketch takes a slightly darker, more absurdist turn. The premise revolves around Alfalfa, of Little Rascals fame, being pursued for a tell-all book, only to be haunted by the ghost of Buckwheat. Mary Gross’s panicked “Heelllp!” adds a touch of unexpected humor. Gary Kroeger’s portrayal of Buckwheat’s translator is a comedic highlight, effectively rendering “Buckwheat speak” into understandable gibberish and vice versa. The sketch also includes a somewhat jarring reference to Darla also being deceased, which feels a bit out of place and potentially confusing, especially given Julia Louis-Dreyfus’s recent portrayal of Darla in a previous episode. Despite the slightly odd Darla reference, the sketch is overall amusing, leveraging the nostalgia of the Little Rascals with a ghostly comedic twist.
What’s New: Linda Ronstadt Parody
Julia Louis-Dreyfus shines in the “What’s New” sketch, showcasing her often-underappreciated vocal talents with a parody of Linda Ronstadt. The sketch cleverly plays on the musical question “What’s New,” with Louis-Dreyfus-as-Ronstadt hilariously declaring that she is not what’s new. The lyrics are sharp and satirical, creating a solid parody that feels reminiscent of classic SNL musical sketches from the show’s earlier seasons. It evokes a similar comedic sensibility to Laraine Newman’s memorable Barbra Streisand impression, relying on witty lyrics and strong character work. This sketch is a strong example of SNL’s ability to blend musical performance with sharp comedic writing.
Countdown 84: Political Polls and ZZ Top
“Countdown 84” is a recurring segment throughout the episode, serving as a satirical news update and a vehicle for the phone-in poll concept. Joe Piscopo’s delivery of the vote tallies, while occasionally tedious due to its length, is punctuated by his ad-libs and sets the stage for Father Guido Sarducci’s commentary. Sarducci’s introduction of ZZ Top into the poll is a comedic highlight, and the subsequent inclusion of a ZZ Top music video segment is a surreal and unexpected choice. The montage of Democratic candidates set to ZZ Top’s “Sharp Dressed Man” is genuinely funny, creating a memorable and visually engaging moment. This segment also marks the debut of Julia Louis-Dreyfus’s Nina Blackwood impression, which would become another recurring character. “Countdown 84” effectively replaces the traditional “Saturday Night News” segment in this episode, a somewhat drastic format change that underscores the episode’s experimental nature.
Tasteless Choice: Incestuous Coffee Commercial
“Tasteless Choice” is a sketch that lives up to its name, delivering a shock-value punchline with Joe Piscopo’s sudden confession to Mary Gross about “sleeping with our daughter.” The sheer unexpectedness and taboo nature of the reveal is designed for maximum comedic impact. Mary Gross’s deadpan response, “I’ll make some coffee,” is equally hilarious, highlighting the sketch’s dark and absurdist humor. The sketch quickly transitions into a coffee commercial parody, further amplifying the tastelessness and creating a memorable, if slightly uncomfortable, comedic moment. It’s a sketch that pushes boundaries and exemplifies SNL’s willingness to venture into edgy and controversial territory.
Musical Performance: Huey Lewis & The News – “Heart & Soul”
Huey Lewis & The News provided the musical performances for the night, starting with a rendition of their hit “Heart & Soul.” The musical guests were a staple of SNL, providing a break from the sketch comedy and showcasing popular music of the era. Huey Lewis & The News were at the peak of their popularity in 1984, making them a fitting musical guest for this episode.
The Man Who Loved Swimmin’: Father Guido’s Chastity Vow
“The Man Who Loved Swimmin'” provides a dedicated sketch focused solely on Father Guido Sarducci. Set at a swimming pool, the sketch explores Sarducci’s commitment to his chastity vow in a humorous and somewhat absurd manner. Julia Louis-Dreyfus appears again in this sketch, adding to her prominent role in this episode. While the sketch’s premise is funny, it does become somewhat repetitive, relying on Sarducci repeatedly jumping back into the pool to maintain his chastity. However, Sarducci’s quick return to the pool after glancing at a National Geographic magazine provides a good visual gag and a laugh-out-loud moment, saving the sketch from becoming entirely stagnant.
Nice Boys Don’t Get Girls Pregnant: Michael Jackson PSA
“Nice Boys Don’t Get Girls Pregnant” features Eddie Murphy as Michael Jackson in a short, somewhat underwhelming sketch. Given Michael Jackson’s immense popularity at the time, the sketch feels surprisingly generic. Murphy’s impression is described as lacking specificity, relying on a high-pitched voice and vaguely effeminate mannerisms, which, in retrospect, can be seen as somewhat stereotypical and not particularly insightful. The sketch reuses sets from a previous “Poly-Rock” sketch, suggesting a possible lack of new ideas or time constraints. The “twist” of “Nice boys don’t get girls pregnant” doesn’t quite land, making this one of the weaker comedic moments of the episode.
Steven Wright: Stand-Up Comedy
Steven Wright’s stand-up segment is a definite highlight of the episode. Wright’s signature deadpan delivery and surreal, one-liner jokes are perfectly showcased. While this appearance might not be considered his absolute strongest SNL performance, it still delivers plenty of laugh-out-loud moments. Jokes about his apartment being robbed and replaced with replicas, feeling “kinda hyper,” and his definition of a dictionary as a poem are classic examples of Wright’s unique comedic genius. His segment provides a welcome change of pace and a dose of pure, unadulterated stand-up comedy within the sketch show format.
Countdown 84 (Continued): Street Interviews and Brad Hall
“Countdown 84” returns, featuring Father Guido Sarducci conducting “man-on-the-street” interviews and Brad Hall in an anchorman role. This segment marks Brad Hall’s first appearance in the episode, despite having been recently fired as the “Saturday Night News” anchor. His inclusion in “Countdown 84” feels like a way for the show to utilize his talents despite the anchor change. The absence of a traditional fake news segment in this episode is a significant departure from SNL norms, further highlighting the episode’s unusual structure. The street interview portion is somewhat standard, but the overall segment continues the episode’s focus on the phone-in poll and provides a platform for both Sarducci and Hall.
Musical Performance: Huey Lewis & The News – “I Want a New Drug”
Huey Lewis & The News return for their second musical performance, this time playing their iconic hit “I Want a New Drug.” This performance further solidified their presence in the episode and provided another high-energy musical interlude.
Right to Vote: Vote-in Encouragement
“Right to Vote” is a brief segment featuring Joe Piscopo encouraging viewers to participate in the Democratic primary phone-in poll. While it includes a few comedic lines, it’s primarily a straightforward reminder to viewers to vote. This segment reinforces the episode’s central gimmick and keeps the phone-in poll at the forefront of the viewer’s mind as the show progresses.
Airport: Delayed Flight Frustrations
“Airport” finally brings Jim Belushi into the spotlight late in the episode. The sketch features Father Guido Sarducci reacting with comedic outrage to a delayed flight, showcasing his volatile temper. Belushi plays a friendly TransEastern employee. The sketch adopts a more low-key, slice-of-life style, a common approach in older SNL seasons. The ending, with Belushi’s character mentioning working for tips, is somewhat strange and doesn’t quite provide a clear comedic resolution. Overall, the sketch is a bit of a mixed bag, reflecting the episode’s slightly uneven comedic quality.
Phone-In Results: ZZ Top Wins!
The “Phone-In Results” segment delivers the anticipated outcome of the phone poll: ZZ Top wins! Dick Ebersol, then-executive producer of SNL, makes a rare on-screen appearance to deliver the results. The cast, along with Steven Wright and Huey Lewis, are seen holding boards with candidate faces, adding a visual element to the announcement. Eddie Murphy’s absence during this segment, and throughout much of the episode, is notable, highlighting his limited participation in this particular show. The predictable victory of ZZ Top feels a bit anticlimactic, but it concludes the episode’s central gimmick.
Goodnights
The goodnights segment is fairly standard, although it’s revealed that a pre-taped segment titled “Shoplifting” was cut for time and would air in a later episode. This highlights the often unpredictable nature of live television and the constant adjustments made to fit within the allotted time frame.
Final Thoughts on a Unique SNL Episode
This SNL episode hosted by Father Guido Sarducci is undeniably unique. The “Countdown 84” phone-in poll dominates the runtime in a way that previous audience participation stunts did not. This focus, while experimental, comes at the expense of screen time for much of the cast, although Julia Louis-Dreyfus had a particularly strong showing. The absence of a traditional “Saturday Night News” segment further contributes to the episode’s unusual feel. However, Father Guido Sarducci proves to be an engaging and surprisingly effective host, exceeding expectations and delivering a more likable performance than some might anticipate. While the episode as a whole might be considered a step down from the preceding Flip Wilson hosted episode, it remains a fascinating and historically significant installment of SNL, showcasing the show’s willingness to experiment and push boundaries even within its established format. For fans of Father Guido Sarducci or those interested in SNL’s 1980s era, this episode is definitely worth revisiting.
