Cillian Howley reviews Blue Moon (2025), highlighting the portrayal and ‘incisive character study’ of American lyricist Lorenz Hartz.
Blue Moon tells the story of Lorenz Hart, the oft-forgotten lyricist, who inadvertently cleared the way for Rodgers and Hammerstein to change musical theatre forever. Ethan Hawke stars as Hart in this New York-set drama from Richard Linklater. The actor-director duo of Boyhood and the Before trilogy join forces once again to deliver an incisive character study.
On a bitter night in New York City, Linklater guides us around Sardi’s restaurant focusing on the actions of Lorenz Hart. Confined to one location and featuring a limited cast, Linklater creates an atmosphere evocative of a stage play. A washed-up lyricist, Hart spends the evening in deep denial that his creative partnership with Richard Rodgers is over. Fed up with Hart’s unreliability and alcohol dependency, Rodgers has teamed up with Oscar Hammerstein on the new musical Oklahoma!.
Unfortunately for Hart, this particular night mirrors Death of a Salesman more closely than it does any musical theatre spectacle. The stark reality for the musician is set against the backdrop of a riotous celebration. Although the film is set in one room, it feels as though two parties are taking place simultaneously. Most patrons gather for a blowout filled with cheers and self-adulation for the successful opening night of Oklahoma!. Hart, on the other hand, attends a funeral for his Broadway career, with a guest list of one.
Confined to one location and featuring a limited cast, Linklater creates an atmosphere evocative of a stage play.
Despite her central placement on the film’s poster, Margaret Qualley is hardly a leading lady in Blue Moon. Appearing in a few scenes, Qualley’s Elizabeth is more significant in her absence than presence. Hart characterises his “irreplaceable Elizabeth” as his soon to be lover. In reality, she is his student and protege, which makes the discussion around her feel predatory but unsurprising for 1943. Elizabeth shares a close relationship with Hart but only on a platonic level. She often turns to him to confide in and they gossip like giddy schoolchildren.
Ultimately, Elizabeth represents the distance between who Hart wants to be and who he truly is. Hart envisions himself as a charming playboy with an unmatched wit and musical talent. To those around him, Hart is clearly a homosexual and has no chance with Elizabeth. Furthermore, it is evident that Hart’s alcoholism spurred the creative breakup between him and Rodgers, flushing his career prospects down the drain. The work of Rodgers and Hammerstein is cheap and sentimental to Hart, yet it’s destined for success he could not dream of.
The piece de resistance of Blue Moon is far and away Hawke’s commanding central performance. In tandem, Hawke and screenwriter Robert Kaplow depict Hart in an unflattering and brutal yet frank manner. One of the finest actors of his generation, if underrated in the mainstream, Hawke is given space to flex his agility. All in a single night, Hart is everything from a bitter alcoholic to a desperate romantic to a self-adoring artist.
The piece de resistance of Blue Moon is far and away Hawke’s commanding central performance . . . All in a single night, Hart is everything from a bitter alcoholic to a desperate romantic to a self-adoring artist.
Although Hawke skilfully captures Hart’s essence, his appearance serves as a significant distraction throughout the drama. Poignant moments are undercut by attempts to display Hart’s receding hairline and five-foot stature. At times, Hart appears unnaturally short alongside his average sized counterparts. The result is an audience too preoccupied to fully invest in the film’s emotional stakes.
Filmed in Dublin and Wicklow last year, Blue Moon features a predominantly Irish supporting cast. Most notably, Andrew Scott and Simon Delaney star as Rodgers and Hammerstein. Both don sufficiently convincing American accents. Scott, in particular, succeeds in his role as the frustrated friend and former colleague of Hart.
An acclaimed debut at Berlin International Film Festival transpired in Scott receiving the Silver Bear for Best Supporting Performance. Top Irish exports to Hollywood; Cillian Murphy, Colin Farrell and Paul Mescal have competed formidably and won in top awards races. No stranger to critical success, Scott’s trophy cabinet is empty by comparison. Emmys and Oscars snubs for Fleabag and All of Us Strangers can be remedied by American bodies for this performance. Scott need not be sidelined to decorate Hawke.
Blue Moon begins and ends in the same way; Hart sitting at the bar telling wild stories of Broadway glory days gone by. The crowd of partygoers shuffle in and out with little mind paid to Hart. He remains a has-been and outsider to the spheres which once adored him.