Blue Moon, 2025.
Directed by Richard Linklater.
Starring Ethan Hawke, Margaret Qualley, Bobby Cannavale, Andrew Scott, Jonah Lees, Simon Delaney, Cillian O’Sullivan, Patrick Kennedy, John Doran, Caitríona Ennis, Ian Dillon, Brian Briggs, Giles Surridge, and Ray Weafer.
SYNOPSIS:
Tells the story of Lorenz Hart’s struggles with alcoholism and mental health as he tries to save face during the opening of “Oklahoma!“.
A single-location play-like one-night window into Broadway songwriter turned alcoholic Lorenz Hart at age 42 (formerly of the duo Rodgers and Hart), who sits in a bar bitterly whining about the merits of Oklahoma! on its opening night while also preparing to kiss some ass in an effort to remain cordial at an after-party, is most definitely an esoteric venture. However, director Richard Linklater (working from a snappy, sharp, and loaded script from Robert Kaplow) transcends whatever limited appeal the plot synopsis for Blue Moon has into a measured and dense look at jealousy and insecurity that never entirely takes over the rationality of Lorenz Hart’s mind.
The film is a rapid-fire assault on the senses and brain, anchored by astonishing work from Ethan Hawke (made to appear much shorter through optical illusion photography trickery, and with an impressively ugly hairpiece that deserves some sort of awards recognition based on how impossible it is not to look away from), perfecting a blend of intelligent wit, romantic delusions, self-awareness of his flaws, pointed opinionated thoughts on theatre and art, and various tics and small acting choices across every single line of dialogue let alone scene. It doesn’t matter what one’s opinion is on theatre or the subject coming into Blue Moon; Ethan Hawke is so showy and transfixing with a deep well of depth that he single-handedly makes a night in the life of Lorenz Hart before the end captivating.
And not only does Richard Linklater, working with cinematographer Shane F. Kelly always keep the camera moving around the room, ensuring this never feels like a filmed play with static shots, but various characters pop in and out, all in an effort to provide more context into what Lorenz Hart was going through mentally before alcoholism finally took his life (which is actually how the film begins before jumping back in time).
Among those characters is a nonjudgmental and friendly bartender (Bobby Cannavale,) former songwriting partner Richard Rodgers (Andrew Scott) who has taken an opportunistic career path that has driven a wedge between the two, other party guests ranging from the mayor and others, and most importantly, a 20-year-old crush in Elizabeth Weiland (Margaret Qualley), an astute woman who sees right through the men around her while developing a bond with Lorenz. Much of the dialogue here also appears to be based on real letters between the two.
Bluntly put, Lorenz is there stomaching the success of Oklahoma! and mostly remains amiable with those he feels betrayed by because he believes that tonight will be the night he and Elizabeth sleep together. At a vacation sometime prior, an opportunity to present itself only for Elizabeth to feel that it wasn’t the right time. Given how Lorenz worships her any second he talks about her, there is also the chance that this is a more one-sided dynamic in reality when it comes to love; one can’t help but feel something about this is doomed or not going to go the way he thinks it will, since he talks about her like she is his only reason for existing anymore.
What follows throughout Blue Moon is a series of cutting conversations, with these characters dressing each other down and chipping away at clarity or an emotional truth. For as clueless as Lorenz can come across at times regarding his connection with Elizabeth, he is also self-aware and brutally honest about the reality of many aspects of his life and what little is left of his future. Given that it is evident Lorenz Hart doesn’t have much time left, it allows each of these interactions to take on multiple meanings and more layers.
Mileage will still vary based on how watch affinity one is for the theatre industry or Lorenz Hart, but again, this is one of those cases where it’s hard not to see someone coming away upset if they take a chance on it, even if they might not get the full emotional impact as a result. In a career filled with remarkable performances, this one stands tall for Ethan Hawke.
Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★
Robert Kojder
