Blue Moon review: Ethan Hawke and Andrew Scott shine in tender portrait of an artist

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A star rating of 4 out of 5.

Among all the people I’ve encountered, none could compare to the depth of sadness I witnessed in him – that man. It was as if the melancholy of a ‘Blue Moon’ seemed to be his constant companion, much like how Richard Linklater portrayed Lorenz Hart.

For a quarter of a century, the American lyricist collaborated with a younger Richard Rodgers. During this period, they created timeless classics like “My Funny Valentine” and “Blue Moon,” which have become beloved by Manchester City supporters as their anthem. However, it’s Rodgers’ subsequent collaboration with Oscar Hammerstein that has endured in popular memory.

Set chiefly across one night, Blue Moon takes place on the cusp of this changing of the guard.

In March of 1943, Rodgers, portrayed by Andrew Scott, and Hammerstein, played by Simon Delaney, have debuted their first joint project, Oklahoma!, to a crowd of 1600 thrilled spectators in New York City. The critics are raving, and Hart, played by Ethan Hawke, decides to cut out early for the after-party at the renowned Sardi’s restaurant located in midtown.

Slumped over the bar, heavily intoxicated, he leans for support, waiting for Rodgers’ arrival in this establishment owned by Bobby Cannavale. With a hint of resentment in his voice, he declares aloud, “Am I bitter?” Indeed, yes, he is. He harbors the knowledge that the uncontroversial production of Oklahoma! will endure and thrive.

As a true cinephile, I can’t stand this overly sentimental portrayal of an America that never truly existed. “Who needs bland art?” I exclaim passionately. With the wit and precision of Oscar Wilde, Hart possesses a wealth of talent; however, his battles with alcohol will ultimately be his downfall.

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In this movie, the screenplay was penned by Robert Kaplow, a writer who had collaborated with Linklater before on the film “Me and Orson Welles,” which also delved into the American entertainment industry of that time period.

This scenario involves larger risks, primarily due to the fact that it predominantly unfolds within Sardi’s, where Hart often presides over conversations with anyone willing to listen. The 1942 film Casablanca, starring Humphrey Bogart, is a frequent point of reference – there’s even a pianist (Jonah Lees) present to play the piano occasionally.

In a heartfelt scene, Hart encounters a budding filmmaker named George Hill, who is also a young admirer. “Watch out for love tales,” Hart cautions. “Consider friendship narratives instead.” Later on, we know George Roy Hill by his full name, the very man who would create one of the most memorable friendship stories ever, Butch Cassidy and the Sundance Kid.

In another interaction, he crosses paths with “Stephen”, an ardent fan of musical theater (who coincidentally is Stephen Sondheim), who appears unimpressed by Hart’s artistic endeavors.

Displaying a youthful and modest appearance, Margaret Qualley appears on screen as Elizabeth Weiland, the captivating character who has drawn Hart’s intense fascination (though it’s hinted that his attractions span beyond women, as his sexuality is often suggested).

In his ninth collaboration with Linklater, Ethan Hawke skillfully handles a challenging role, yet some artistic decisions fall short. The bald cap and comb-over worn by the actor are quite noticeable and disrupting. Similarly, it seems unusual that Hawke appears shorter than his co-stars, as Hart was under five feet tall in reality.

Indeed, Kaplow’s script shines brilliantly here, and it’s Hawke who brings it to vibrant reality. His interactions with Rodgers are particularly captivating, as the main character’s grand entrance unfolds.

Kaplow’s script is simply dazzling in this production, and it’s Hawke who gives it life. His scenes with Rodgers are especially engaging, making the climactic scene all the more impactful.

Sherlock Holmes and Scott from Strangers star display a creative spirit soaring high, shown with genuine flair. Instead of abandoning Watson, he empathizes with his former comrade. “My career is built on your shoulders,” he admits. However, their professional bond has grown unworkable.

As the Blue Moon continues, it grows increasingly poignant as Hart grapples with the melodies he composed, the affection he longs for, and the career slipping away from him. His struggles with alcohol intensify. This moving depiction offers a glimpse into an artist’s life – one that we hope will remind contemporary viewers of Lorenz Hart’s significant impact on popular culture.

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2025-02-19 18:07