Richard Linklater’s 'Blue Moon': Another Classic in Conversation

BY NATE DAY

Richard Linklater’s latest, 'Blue Moon,' is a mostly real-time chamber piece reminiscent of his famed 'Before' Trilogy – and is deserving of the comparison in every way.

The film follows Lorenz Hart in the hours after the 1943 Broadway debut of the smash hit 'Oklahoma!,' a musical with music co-written by his former partner, Richard Rodgers. Following the rave reviews for the show, Hart relentlessly pursues a much younger woman and his former professional glory in equal measure, hindered only by his self-destructive habits.

'Blue Moon' functions mostly as a showcase for its star, Ethan Hawke, who gives one hell of a performance. He’s energized, nuanced, intimate and heartbreaking – often all at the same time. Additionally, his capacity to deliver such layered and fast-paced dialogue, all while looking absolutely ridiculous, is something to behold.

That being said, many other aspects of the film are noteworthy as well. The costumes and production design flawlessly recreate 1940s New York and allow you to easily sink into Hart’s intricate life – an essential step to enjoying this story. Similarly, the script is razor sharp and often had me laughing out loud – something I’ll rarely do in a theater.

On paper, it may seem that highlighting similarities between 'Blue Moon' and the 'Before' Trilogy is all too natural, given that they’re both stories following Hawke having conversations, but it’s that very script that ties the two pieces together more neatly. Yes, both stories focus heavily on the extended exchange between the main character and those bouncing off of him, but it’s the big-picture complexities within those conversations that really make 'Blue Moon' shine as bright as the best of 'Before.'

Spending the film entirely in Hart’s company allows us to understand the grandeur of his bad habits, how they affect the people around him, the way he moves through the world, and of course, the self-proclaimed (though not incorrect) immortality of his art. Linklater flicks like this one allow us to examine someone who isn’t ourselves under a microscope – see where we differ, where we’re the same, and where we wish we weren’t.

It's worth noting that the script for 'Blue Moon' was written by Robert Kaplow (and inspired by letters between Hart and his muse, Elizabeth Weiland), while Linklater was the architect behind the 'Before' Trilogy (with help from Kim Krizan, Hawke, and Julie Delpy). Where the 'Blue Moon' script differs is that it’s a movie about friendship rather than love or romance – an interesting notion, given that Hart himself encourages an aspiring theater director to focus on such stories in this very movie.

Furthermore, this movie will provide plenty to chew on for fanatics of music, theater, and even literature, language and grammar, as E.B. White makes a prominent appearance in the film.

The supporting cast is strong too, with Andrew Scott anchoring the ensemble as Rodgers, Bobby Cannavale as a charming and humorous bartender, and Margaret Qualley, once again proving her salt as a star of the silver screen under the tutelage of an auteur like Linklater.

It’s surprising this movie isn’t receiving a bigger marketing push from Sony Pictures Classic – with the proper ignition from Linklater’s stalwart cinephile fanbase, I could see this being a bigger player in this season’s awards race (I’ll be shocked if Hawke isn’t nominated at the very least).

Whether this movie is dripping in awards or box office glory at the end of the day, it serves as a steady reminder of Linklater’s gift for finding the biggest truths in the smallest moments.

 

Review: ⭐⭐⭐⭐ + 🧡