Richard Linklater’s latest film, Blue Moon, is an old-fashioned, bubbly fountain of polished witticisms with a tragi-comic core, immersing us in a single, tense evening in the life of lyricist Lorenz Hart (Ethan Hawke). Set against the opening of Oklahoma! in 1943, the story focuses on Hart’s strained reunion with former creative partner Richard Rodgers (Andrew Scott). Through quips and anecdotes, Hart’s envy and heartbreak collide with Rodgers’ new collaboration, producing a swirl of banter that is alternately comedic and achingly sad.
Where Blue Moon succeeds most is in the sparkling dialogue Hawke’s performance is vital to sustaining the film’s momentum. He deftly balances Hart’s oversized bravado with the subtle hints of loneliness that lurk beneath. This brash humor conceals a man grappling with his sense of worth, especially when compared to the overnight triumph of Oklahoma! and Rodgers’ partnership with Oscar Hammerstein. The film can feel stagey in stretches, but it still exudes a certain vintage Broadway charm.
Blue Moon also boasts a crucial emotional center in a scene between Hawke’s Hart and Margaret Qualley’s Elizabeth Weiland, a young writer who captivates him. Tucked away in a cramped wardrobe, the two share a revealing exchange that peels back Hart’s flamboyant façade, exposing the longing and vulnerability he’s guarded all night. Qualley and Hawke both shine here, imbuing the film with a tender weight that contrasts with its nonstop chatter.
Despite these strengths, I have mixed feelings about Blue Moon overall. Its sparkling repartee sometimes leads to a few too many tangents, slowing the pace just when the film most needs to connect on a deeper level. Still, Linklater’s sharp script co-written with Robert Kaplow and Hawke’s dynamic interpretation of Hart create a richly engaging portrait of a complicated talent. The result is not always perfectly balanced, but for fans of witty period pieces and theatrical backstage drama, Blue Moon ultimately offers a cleverly packaged glimpse into Lorenz Hart’s tragi-comic heart.