Blue Moon review: Ethan Hawke is a powerhouse in stagey drama
Ethan Hawke and Richard Linklater have been working together on and off for the past 30 years with films like Before Sunrise (and the sequels) and Boyhood – and they’re now bringing us something completely different with Blue Moon.
This drama is set during one night at the famed Sardi’s restaurant in New York City on 31 March 1943. Lyricist Lorenz ‘Larry’ Hart (Hawke) has just been to the opening night of Oklahoma!, the first musical his songwriting partner Richard Rodgers (Andrew Scott) made without him after a collaboration of 24 years. He is admittedly bitter, but he has to put on a performance and pretend to support Rodgers and his new lyricist, Oscar Hammerstein (Simon Delaney), when they arrive to celebrate the show.
The film feels very much like a play, which is fitting, given the subject’s theatrical career. It is all set in one location, and characters come in and out to interact with Hart, who can often be found propping up the bar and regaling bartender Eddie (Bobby Cannavale) and pianist Morty (Jonah Lees) with his stories. It is very dialogue-heavy, with Hart talking at whoever will listen, including writer E.B. White (Patrick Kennedy). He is very outspoken and vocalises strong opinions, making him an amusing raconteur.
Blue Moon really hits its stride when the Oklahoma! party shows up, and Hart has to swallow his pride and congratulate Rodgers and Hammerstein. His conversations with Rodgers are fascinating, and my favourite moments in the film. There’s so much history, resentment and grievances between them, but they don’t have time to talk about them all as Rodgers is the man of the hour.
I didn’t care so much about Hart’s obsession with university student and aspiring production designer Elizabeth Weiland (Margaret Qualley). He is in love with her and is certain she feels the same way and that they will consummate their feelings that night. Weiland – who is a real person who had correspondence with Hart – pops in and out of the story until they finally have a real conversation in the final act. By this point, my attention had waned, and I struggled to focus on Qualley’s monologue, which is a shame because it contained good revelations.
A play-like film is all about the writing and performances, and they are flawless here. Robert Kaplow‘s script, inspired by letters between Hart and Weiland, is smart, funny and heartbreaking. Hawke delivers an acting masterclass worthy of another Oscar nomination. He looks and sounds unfamiliar with a bald head, combover and New York accent, and he really nails Hart’s desperation, sadness and loneliness, which he covers up with jokes and catty remarks. Scott also deserves a shout-out as the conflicted Rodgers, who is torn between his old friend/partner and his new team.
Blue Moon is so wordy that you really have to lock in and concentrate to appreciate the quality of the performances and the screenplay. However, it feels much longer than it is and should have been about 10-15 minutes shorter.
In cinemas from Friday 28th November