Ethan Hawke seems to be popping up everywhere lately, but maybe that’s because three of his films came out around the same time. I caught him in this movie, and She Dances just a few days apart, and my friend Vince just watched him in Black Phone 2.

The film tells a fictionalized tale based on the real-life Broadway songwriting team of Richard Rodgers and Lorenz Hart, focusing mainly on the latter. Even if you’re not a fan of musical theater, you’ve probably heard of Rodgers and Hammerstein, who created some of the biggest hits like Oklahoma!, South Pacific, The King and I, and The Sound of Music. Before Rodgers teamed up with Oscar Hammerstein II, he and Hart collaborated on nearly 1,000 songs over their 24-year partnership, including classics like Blue Moon and My Funny Valentine.

Directed by Richard Linklater, based on a script by Robert Kaplow, the story unfolds over a single night in 1934 at Sardi’s restaurant. Hart is grappling with his crushed self-esteem at the bar, while Rodgers (Andrew Scott, giving an understated but memorable performance) revels in the success of his groundbreaking musical “Oklahoma!” It’s been a while since I’ve encountered a ‘talkie’ film like this, but with a clever script and a talented actor, this format truly has the potential to dazzle. This style is not for everyone, and it might get lost on those who aren’t into musical theater.

Now, I personally am not overly familiar with Hart’s story, but I found myself captivated by his relentless chatter, steeped in alcohol and self-pity, as his devoted bartender Eddie (Bobby Cannavale) patiently listens. Most of the dialogue takes place at the bar, where Hart engages with anyone willing to hear him out.

The film poignantly illustrates the vulnerability of an artist grappling with alcoholism and depression. Hart regrets turning down Oklahoma! and is grieving the end of his long-standing partnership with Rodgers. Later, Rodgers lends us a clue that Hart’s drinking and unreliable ways contributed to the strain, though Rodgers still hasn’t fully given up on collaborating with him again. The legendary lyricist was a clearly good writer but not much of an actor, as he could barely conceal his disdain for Oklahoma! as he tried his best to swallow his pride to congratulate Hammerstein (Simon Delaney).

As if one heartbreak wasn’t enough, Hart was also attempting to win over his muse and long-time infatuation, Elizabeth Weiland (Margaret Qualley), a 20-year-old Yale art student eager to work in the theater world. Their exchange in the coat room is unforgettable for its raw honesty, and Qualley shows she’s quite a versatile actress who’s more than a pretty face. It’s particularly devastating for Hart, who’s already so distraught, to have his heart broken once more when Weiland confesses that she doesn’t love him “in that way.”

This might be one of the best performances I’ve witnessed from Hawke. He completely immerses himself in the character; not only does he undergo a physical and vocal transformation, but he also portrays a man teetering on the edge of death. He skillfully balances humor with heartbreak. I learned that Hart’s feelings of inadequacy regarding his height (5’2″) played a role in his struggles. Linklater employs practical effects to make the 5’10” Hawke appear almost a foot shorter, and Hawke even shaved his head to allow the makeup team to create a receding hairline.

Blue Moon marks the ninth collaboration between Linklater and Hawke, marking a return to the ‘talkie’ style reminiscent of their first film together, Before Sunrise (1995). I think this story would translate beautifully into a play, as the dialogue serves as the narrative backbone and emotional essence, rather than depending on action. I love the score by Graham Reynolds, who has written several music for Linklater. Piano renditions of timeless songs and rich jazz instrumentals are two of my favorite types of music.

Linklater reveals Hart’s fate right at the start of the film, but watching it play out on a rainy night is still heartbreaking. From this point forward, every time I hear a tune from Rodgers and Hammerstein’s classics, it’ll be tough not to feel a tinge of sadness. Even the lyrics of Blue Moon hint at that sense of loneliness…

You saw me standin’ alone
Without a dream in my heart
Without a love of my own

It’s devastating how Hart’s illustrious life and career ended in sorrow, overtaken by his own personal demons at the age of 48. This film serves as a poetic tribute to a brilliant yet troubled mind, but his legacy shall endure.

Have you seen BLUE MOON? What did you think?

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