The visual of an unkempt-haired Christopher Walken with his head thrown back as the woman grabs him by the throat is the one part of this sketch that I’ve always remembered from past viewings. Hilarious reveal of The Continental having his head under the woman’s dress when we were led to believe he was tending to the fireplace. A huge laugh from The Continental saying “I have fallen for you and I can’t get up!” in a high-pitched voice when expressing how his heart feels. I love that The Continental is continuing to eat caviar while a piece of caviar is smooshed to his forehead. Christopher’s “mmm mmm” sounds when enjoying the taste of caviar is a hilarious little Walken-esque touch. As always, it’s a riot whenever The Continental frantically jumps in front of the door when the woman tries to make a mad dash out of the apartment. All of the subsequent Continental sketches that use Phil’s voice-over are after his death. A bit of a sad realization that this is the last time the trademark Continental stock voice-over intro from Phil Hartman will be used during Phil’s lifetime. Of all the Continental sketches I haven’t reviewed yet, this is the only one I’m not all that familiar with, so I’m really looking forward to this one. The Continental once again tries to charm a female visitor I love Christopher’s odd threats to the snowball-throwing kids, especially “See how funny it is… when I bury your FACE… in the yellow SNOW.” Christopher’s Italian wiseguy voice is freakin’ hilarious. I always love Rita’s conversations with her off-camera friends. At the very beginning of this sketch, are we supposed to see Christopher just stiffly standing awkwardly next to Rita Delvecchio’s house as the camera slowly zooms in on Rita? Rita Delvecchio officially becomes a recurring character.
Rita Delvecchio tries to get neighbor (host) to clear her walk Cheri is coming off particularly adorable during her brief appearances throughout this. Christopher’s musical monologues are always very entertaining, and this Christmas medley is particularly fun, charming, and infectious. I love Christopher mentioning his family complaining about the gruesome things he does as a movie villain. Is Christopher’s hair redder than usual? Snowdiggers NAW, MOS, CHO join host as he dances & sings about snow I like the New York City/State debate between Giuliani and Pataki. He and Giuliani have fun chemistry, though. But, boy, Pataki, on the other hand, has awkward and stilted delivery here. Right from this very first SNL appearance of his, Giuliani is coming off as a total natural a good sign of things to come for his future SNL appearances. Some pretty good laughs from Giuliani and Pataki blaming the cast’s hard work in clearing the snow on why tonight’s show might be lackluster. For some reason, I like how they’re making such a big deal of that week’s huge blizzard.
Rudolph Giuliani & George Pataki make apologies for tonight’s SNL He was also capable at any time of turning in an Oscar-caliber performance, as he did in "Catch Me If You Can" (2002), proving that the always unpredictable Walken was worthy of his stature as one of the most respected actors working in Hollywood.Segments are rated on a scale of 1-5 stars Though occasionally in danger of self-parody throughout his career, Walken was always relevant, as the "More Cowbell" skit on "Saturday Night Live" (NBC, 1975) indicated. Peppered into his résumé were some of the most outlandish, over-the-top villains ever put on film, like the bleach-blonde industrialist Max Zorin in "A View to a Kill" (1985) the corrupt business man, Max Shreck, who wears human molars as cuff links in "Batman Returns" (1992) and the sadistic Headless Horseman in "Sleepy Hollow" (1995). With his status secure, Walken spent the next few decades turning in numerous performance gems in a never-ending string of projects that ranged from Oscar-winning films to bargain bin rentals, including "Biloxi Blues" (1988), "True Romance" (1993) and "Pulp Fiction" (1994). After cutting his teeth on the stage in musicals and later dramatic productions, he made his first impression on film as the demented brother of the titular "Annie Hall" (1977) before winning an Academy Award for his tormented Vietnam veteran who becomes obsessed with playing Russian roulette in "The Deer Hunter" (1978). With a dry, deadpan delivery that was oft-imitated by his contemporaries, Walken himself was as much of a cultural phenomenon as some of his performances. Having made the rare successful transition from child player to adult star, Christopher Walken went on to become one of the most respected and sometimes feared performers on screen, if only because of his offbeat portrayal of sinister villains.