‘Blue Moon’ Review: Ethan Hawke Stars in a Humanizing Portrait of an Artist Left Behind

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It’s a fitting start that director Richard Linklater’s Blue Moon begins with the death of Lorenz Hart (Ethan Hawke), a celebrated songwriter and lyricist. As the film then explores a key period in Hart’s life, it feels like we’re witnessing a tribute to him as it unfolds. Linklater’s film is a significant and deeply human piece, offering a more complete picture of an artist who feared being remembered only for his popular songs. While the world may have moved on from Lorenz Hart, projects like this remind us to revisit his story.

Richard Hart, one half of the famed songwriting duo Rodgers and Hart before Rodgers teamed up with Oscar Hammerstein II, was a lyricist celebrated for Broadway successes like “The Lady Is a Tramp,” “Manhattan,” and the iconic “Blue Moon.” However, his life and work have often been less recognized than Rodgers’ later collaborations with Hammerstein. Blue Moon delves into the painful reality of being overlooked, honoring an artist with immense talent who struggled with personal challenges and couldn’t overcome his inner struggles. It’s a deeply moving and realistic story about someone facing the realization that their best days are behind them, and that they’ve become irrelevant.

It’s quite ironic that Blue Moon opened around the time of Hart’s death, because when the film begins, it’s so hard to picture someone so full of life ever passing away. The story unfolds on March 31, 1943, and we first see Hart leaving during the final moments of Rodgers and Hammerstein’s Oklahoma!. He heads to the after-party, but it’s pretty empty – just the bartender, Eddie (Bobby Cannavale), a pianist Hart calls Knuckles (Jonah Lees), and the writer E.B. White (Patrick Kennedy). Hart immediately sees this as a chance to really talk about what’s bothering him with the play, and to share his thoughts on love, art, and life in general. He’s also really hoping Elizabeth Weiland (Margaret Qualley), this college student he’s completely captivated by, will arrive soon. He’s dreaming that, even though he’s battling a lot of self-doubt and feels pretty insecure, tonight might be the night they finally admit their feelings for each other, and he can find some meaning just by looking into her eyes.

Watching Hawke as Hart just reminds me why he’s one of the most consistently great actors working today. It’s not just about *imitating* how someone looks or moves; he really *becomes* the character. You get the feeling he’s tapped into Hart’s own sadness and desires and blended them with his own experiences, and that’s where the performance comes from. When he says, “How can you give voice to the whole circus of the world if the whole circus of the world isn’t already inside of you?,” it’s just mesmerizing – the way he delivers it is full of poetry, a real sense of sadness, and a desperate urgency. Hart is brimming with hopes and dreams that seem almost too big for one person to contain. Through Hawke’s portrayal, you really understand that Hart found inspiration in the everyday; it wasn’t just about *writing* words, but truly *listening* to them too. It’s a beautiful performance. Seriously. A true masterclass.

A deeply sad, yet beautiful, scene unfolds as Hart hears Elizabeth describe a humiliating sexual experience while they’re hidden in a closet. Hart immediately understands that Elizabeth loves him, but not romantically, as he wishes. Despite this, he continues to listen intently. He treats her story as if she’s the only person on earth, and we see him become more vibrant while hearing from someone he deeply cares for. It’s what fuels him as an artist-her vulnerability and trust.

As the story progresses, Andrew Scott appears as Richard Rodgers, portraying a controlled frustration and polished professionalism as Hart’s partner. It’s clear that Rodgers feels indebted to Hart for his career, and this makes it difficult for him to fully separate himself from his unpredictable colleague. While Rodgers deeply respects Hart, he’s also annoyed by how Hart’s struggles with alcohol and lack of motivation have hindered their ability to work together. Their arguments reveal a long and complex history, showing the ups and downs of a deeply rooted friendship.

Screenwriter Robert Kaplow provides Hawke and the other actors with many striking lines – like the famous “circus of the world” – and the film’s admiration for Hart is also evident in Shane F. Kelly’s cinematography. Hawke is frequently positioned in the center of the shot, almost as if he’s an exhibit, and Kelly often films him very closely during monologues. These choices both feel like a tribute to the person Hart was. The sadness of Blue Moon isn’t that Hart was hated; it’s that he was once admired, but is now merely accepted. This is a challenging emotional space for the audience, but the cast and crew handle it skillfully. Movies like this serve as kind and understanding portrayals, reminding us of the full and complex lives of people who died before they had a chance to fully live them.

Blue Moonfirst shown at the Berlin International Film Festival, also received reviews at the New York Film Festival. Distributed by Sony Pictures Classics, it will be released in select cities on October 17th, with a broader release following on October 24th.

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2025-10-01 23:36