It is necessary to start this review with a disclaimer. Unfortunately, one of the reasons behind Uptown Saturday Night being relatively under-discussed in recent years has to do with the fact that this is a buddy comedy, in which one half of the central duo is played by someone who has deservedly fallen out of favour due to his actions. This was initially was made me hesitate to seek out the film – however, hindsight may be important, but it’s not the ultimate authority, so while it is categorically wrong to condone Bill Cosby or speak about him in favourable terms, we also have to consider how Uptown Saturday Night was built on his unique comedic talents, which are paired with Poitier. It is not my place to discuss the real-life events, but rather to critique the film as it was meant to be seen – so for that reason, it is important to note that my approach is to celebrate this film, rather than redirecting the conversation to Cosby’s personal actions. For that reason alone, we will not be discussing Cosby outside of his performance in this film.

It’s not often we find actors more known for their serious work choosing to willingly participate in a comedy – but when it does happen, the results tend to range anywhere from astonishing to dreadful. What is rare is discovering that this may not be a worthwhile endeavour for them, because only a small handful of actors have ever had their careers tarnished by starring in a broadly comedic work. Sidney Poitier was one of the most gifted actors to ever work in the medium, and someone whose firm commitment to taking risks consistently paid off, even when he voyaged outside of his comfort zone. This ultimately led to the creation of Uptown Saturday Night, which was one of the most notable comedic performances ever given by the actor. However, it goes even further than this, since this just so happens to be the esteemed actor’s directorial debut. Presented with the challenge of not only playing a more lighthearted role, but helming a comedy almost entirely on his own, Poitier had his work cut out for him. The result is a film that may not be particularly serious or important in any considerable way (outside of being a distinct entry into the steadily growing movement towards making black-oriented cinema mainstream in the 1970s), but it is wildly entertaining, and further proof that Poitier was just as gifted behind the camera as he was in front of it. It kick-started a secondary career for the actor behind the camera, giving him the opportunity to work on a new set of skills, and while he never truly achieved anything on the same level as he did with his acting work, Uptown Saturday Night is as charming and fascinating as many of his acting ventures, and a wonderful example of what can be done with the right attention to detail, which is something that Poitier demonstrated consistently, on both sides of the camera.

It’s difficult to determine exactly where to place Uptown Saturday Night in terms of genre – many have considered it adjacent to blaxploitation, since it does possess many of the same qualities, while being separate enough in style and substance to stand on its own. The idea of a film not knowing exactly what it wants to be is normally indicative of inherent flaws in its construction, but sometimes it can be useful, especially when the story is one that depends on the viewer leaping onto the wavelength of a particular film, and going wherever it takes us. Poitier weaves through many genres – buddy comedy, action thriller and social satire are all fundamental contributors to the fabric of this film, with some elements of romance and adventure thrown in for good measure. There are several films compacted into this one, and while this would normally be cause for concern, it works out splendidly here, especially because Uptown Saturday Night is a film that doesn’t need to take itself particularly seriously, and can afford to be somewhat uneven in certain areas – and this often even contributes to the generally endearing sense of controlled chaos. It may become slightly exhausting towards the end, when the humour begins to run its course, but it is never boring, with Poitier consistently showing his aptitude to control both form and tone. Shifting between different styles prevents the film from becoming boring or repetitive, and it assists greatly in redefining the boundaries of the storytelling process, since it argues against the idea of a coherent and linear storyline – where we begin is not necessarily where we’ll end up, which makes it such an enthralling and captivating experience, and one that manages to add detail to an otherwise conventional set of ideas that underlie this film.

Interestingly, one of the most daring decisions Poitier made as director was placing himself in the central role – not only was he taking a risk in appearing in a broad comedy under his own direction, but he positioned himself as the lead, which was a worthwhile choice. It’s indisputable that he was an astonishing actor, and instead of trying to play against type, he instead leans into his more serious persona, and uses this as the foundation for the film’s humour – Poitier’s straight-laced, dignified personality forms the basis for a lot of what makes his performance so funny, since seeing this almost pure individual engaging with the more sordid side of life makes for a hilarious disparity that gives the film its vivid sense of humour – his encounters with the more off-the-wall characters only showcase how Poitier’s sense of humour was just as sharp and well-defined, it just took a slightly different approach that may be surprising for some vievers, many of whom would think the actor was just another example of a dramatic thespian trying his hand at comedy. He employs Cosby to be the comedic anchor, and the two play off each other exceptionally well, proving that they had incredible chemistry and could complement each other in surprising ways (which would lead to a few years of fruitful collaboration between the pair, including two sequels to this film). Uptown Saturday Night also makes use of a wide range of familiar faces in small roles – Richard Pryor, Roscoe Lee Browne and Harry Belafonte (all iconic performers in their own right) lend their talents to supporting roles, playing alongside Poitier and Cosby with incredible consistency, and helping make the film such a vibrant tapestry of eccentric characters.

The execution of the film may not be to everyone’s taste, but contrasted with other films from around the same time, and it’s not difficult to understand why this has become such a cult classic, especially as these early 1970s comedies start to become more accessible. There’s a timelessness to the film that remains fresh and invigorating – it may represent a different temporal moment in New York City (one that is quintessential to this era), but it is never dated to the point where it becomes any less engaging or interesting. The humour is one of the main contributing factors – even when it is focusing on more serious subject matter (with the issues of race relations and civil rights never being too far out of reach), there’s a sense of sardonic comedy that plays very well in the context of the story. It never takes itself too seriously, while still orbiting around a few more sobering issues, which makes quite a difference when reconsidering how the film defines its central themes. If anything, one of the primary reasons behind the success of Uptown Saturday Night comes in how it presents viewers with a vivid snapshot of this era – the film may be a hilarious comedy, but it is also a social and cultural document, looking at how the community functions. It’s not surprising that several scenes are set in churches, or behind the scenes at a political office, or at institutions that are historically hostile to the black community, with Poitier’s approach to looking at them through the lens of a more positive and uplifting manner being just as endearing as the countless moments of off-the-wall hilarity that ground the film. We are all ultimately outsiders to the world presented in Uptown Saturday Night to some extent, so Poitier’s forthright decision to elevate the community through the comedy (rather than at the expense of it) was one of the most prominent strengths of this otherwise conventional comedy.

Uptown Saturday Night may not be a film that reinvents the wheel, but it certainly never intended to be in the first place. Instead, what it does possess outside of originality is a genuine charm and candour, which comes from it being the first time Poitier stepped behind a camera and helmed a production on his own. It’s a fascinating character-driven satire that takes the form of a wildly funny comedy about ordinary people and their daily routines, which are suitably shaken up for the sake of humour, which is captured perfectly by Poitier’s effervescent but light touch. It’s almost bewildering how, despite his more dramatic origins, that he would almost exclusively direct comedies – but yet, they are all unquestionably entertaining and extremely funny, which is not only a credit to the director himself, but to everyone who opted to undergo this journey with him. The risk was enormous, but the payoff was much bigger, and it becomes a case of intention superseding the shortcomings. It’s difficult to not have a great time with this film – it’s caustic, upbeat and hilarious in a way that not too many films manage to be, and taken alongside the general tone, which is hilarious but not without its abstract charms, it’s almost impossible to look away from this film, which carries itself with a certain authenticity that makes us fully invest in its characters. Hilariously irreverent and lovable, Uptown Saturday Night is a terrific and worthwhile entry into an era of filmmaking that thrived on such wonderfully endearing works.