American filmmaker Richard Linklater has long been celebrated for his diverse range of cinematic works, from romantic dramas in the Before trilogy to his surrealist animated films like Waking Life and A Scanner Darkly. His filmography also includes some of the most iconic coming-of-age stories, including Dazed and Confused, Slacker, Boyhood, and School of Rock. However, his latest project, Blue Moon, is a decidedly minor addition to his distinguished career. Premiering in competition at the Berlin Film Festival, the film presents a poignant performance from Ethan Hawke but struggles with a stagey, often stilted narrative.
Set in 1943, Blue Moon follows the final days of Broadway lyricist Lorenz Hart, the brilliant mind behind timeless songs such as “Blue Moon” and “My Funny Valentine.” At 47, Hart’s glory days are behind him, and the film opens with his collapse in a rain-soaked New York alley. From there, the story takes us back seven months, to the premiere of Rodgers and Hammerstein’s revolutionary musical Oklahoma!—a cultural milestone that changed the landscape of musical theatre. Hart, now a shadow of his former self, is seen attending the performance before retreating to Sardi’s bar, his favorite haunt. Here, the brilliant but broken Hart (portrayed by Hawke) interacts with the barman (Bobby Cannavale) and showcases a mix of acerbic humor and deep personal sadness.
Hart is presented as a bisexual alcoholic, self-diagnosed as “drunk on beauty,” yet deeply unsatisfied both professionally and romantically. His latest obsession is with Elizabeth (Margaret Qualley), a young aspiring Broadway writer who is far more focused on advancing her career than on any romantic overtures Hart makes toward her. As he continues to fail to connect with the beautiful young woman, his frustrations manifest in increasing bitterness.
Hawke, a longtime collaborator of Linklater, delivers an impressive performance that marks a departure from his previous roles with the director. Through subtle camera techniques and visual effects, Hawke’s physicality is altered to portray a man who has aged beyond his years. He embodies Hart with a palpable mixture of sweet-natured charm and acerbic cynicism, capturing the character’s self-pity and resentment towards the younger, more successful Richard Rodgers (Andrew Scott). The weight of Hart’s unfulfilled career and romantic longing is felt throughout the film, and Hawke’s nuanced performance ensures that viewers sympathize with a man who has become an afterthought in a world he once dominated.
Despite Hawke’s standout performance, the film occasionally veers into a darker, almost tragic atmosphere reminiscent of Eugene O’Neill’s cautionary tales of destructive alcoholics rather than the lively world of Broadway musicals. Hart’s interactions with figures like New Yorker writer E.B. White (Patrick Kennedy) and the barman, along with his musings on Casablanca, further highlight his sense of isolation and disillusionment. While the film is steeped in wit, the emotional weight can feel overwhelming, with Hart’s self-destructive tendencies taking center stage.
Margaret Qualley’s portrayal of Elizabeth offers one of the film’s highlights, particularly a tragicomic monologue where she recounts a sexual misadventure. Her character, however, remains somewhat disconnected from Hart, seeing him more as a confidante than a potential lover. Her pursuit of a career in Broadway writing leaves little room for any romantic developments, leaving Hart increasingly frustrated by her disinterest.
Linklater succeeds in capturing the elegance and wit of 1940s Broadway, with sharp dialogue and clever references, from Frank Sinatra to Stuart Little. But as the film progresses, the intimacy of the bar setting begins to feel claustrophobic, and the pacing becomes increasingly dispiriting. Though Blue Moon offers an emotionally rich performance from Hawke, its stagey nature and the long, drawn-out scenes leave much to be desired in terms of narrative flow.
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