Ethan Hawke brings complex pain to a lyricist who’s lost the melody in ‘Blue Moon’

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While many actors discuss their methods, Ethan Hawke consistently centers his work around the creative process itself. He often portrays artists – musicians, writers, and filmmakers – and his directorial projects explore the lives of composers, novelists, and singers, both well-known and obscure. It often feels as though he’s drawn to the struggles and triumphs of artistic expression, fascinated by the vulnerability of sharing your work with the world.

Ethan Hawke’s performance as Lorenz Hart, the talented but deeply troubled writer of songs like “My Funny Valentine,” feels like a natural extension of his long-standing fascination with the character. However, “Blue Moon,” his ninth film with director Richard Linklater, is more emotionally resonant than their previous work. The film imagines Hart on the night of Richard Rodgers’ success with “Oklahoma!” and offers a poignant glimpse of a songwriter struggling with his past. But it’s Hawke’s raw and honest performance that truly makes the film impactful.

It’s March 31, 1943, and Lorenz Hart is eight months away from his death at age 48. He’s just stormed out of the opening night of “Oklahoma!” and immediately heads to Sardi’s for the after-party, taking a seat at the bar. He complains to the bartender, Eddie, that the show will be a huge hit – despite being, in his opinion, terrible. Eddie, used to Hart’s outbursts, listens as Hart rants about the simple lyrics and predictable story. Most of all, Hart is upset that Richard Rodgers will likely achieve his greatest success *after* their nearly 25-year partnership ends. Hart claims he’s not jealous, but no one believes him.

Ethan Hawke *nails* Larry Hart. He’s a total showman, clearly loving the spotlight and peppering conversations with sharp jabs and juicy Broadway stories. Honestly, watching him plead with Eddie to stop serving him drinks – a habit that ultimately wrecked his partnership with Rodgers – is painful, but you can’t help but be charmed. It’s a tricky balance! The film sets up this inevitable clash when Rodgers and his new collaborator, Oscar Hammerstein II, walk into the picture, forcing Hart to put on a brave face. “Blue Moon” isn’t just the story of how “Oklahoma!” became a theatrical landmark; it’s really a portrait of Hart’s slow, quiet defeat, played out in real time. It feels less like a beginning and more like a prolonged goodbye.

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Most of “Blue Moon” takes place within the cozy confines of Sardi’s, creating a very personal, almost one-person show feel. Hart, after complaining about “Oklahoma!”, prepares for a visit from Elizabeth (Margaret Qualley), a beautiful Yale student he sees as his protégé. He also insists he’s in love with her, which confuses Eddie, who doesn’t believe it. While the success of “Oklahoma!” might force Hart to face the fact that his career is fading, he hopes Elizabeth’s presence – and the possibility of a romantic connection – will make up for it.

Richard Linklater, known for films like “School of Rock” and “Me and Orson Welles,” often explores themes of creativity. He’s soon releasing a new film, “Nouvelle Vague,” about the making of the classic movie “Breathless.” However, his latest film, “Blue Moon,” is different. It’s not about a character finding success, but about a man grappling with the feeling that his best days are behind him. The film portrays composer Richard Hart as a small, insecure man haunted by past failures and self-doubt. He obsessively remembers harsh reviews of his 1940 musical, “Pal Joey,” and irrationally believes Rodgers chose Hammerstein as a collaborator simply because Hammerstein is taller. (The filmmakers use visual effects to make actor Ethan Hawke appear as Hart, who was under five feet tall.) While Linklater often focuses on likable underdogs, “Blue Moon” is a somber look at a deeply insecure man whose negative self-image ultimately becomes his reality.

I’ve seen Ethan Hawke play a lot of fascinating characters, but this role feels different. He’s never portrayed someone so vulnerable and, honestly, so painfully aware of their own flaws. The guy he’s playing is clearly eaten up by jealousy, but he can’t deny how amazing the art around him is. It’s interesting because Hawke himself is turning 55 soon, and I get the sense he really connects with this artist’s passion, but also with that fear of losing his own creative spark. If Hawke were younger, you might think he was just showing off, but here, it feels incredibly honest and raw. He really lays bare this lyricist’s struggles – the drinking, the ego – while still showing the sensitive, beautiful soul that made those classic songs so special.

Linklater directs “Blue Moon” simply and without unnecessary complexity, yet a sense of sadness subtly builds throughout the film, particularly when a new group of artists enters the story. Fans of Sondheim will quickly recognize the energetic young composer known as “Stevie.” However, both Linklater and Hawke avoid being overly nostalgic when depicting this shift in generations.

Hawke’s films often leave a lasting emotional impact because they capture the fleeting nature of life – we all leave our mark, but time eventually erases it. Throughout his impressive career, he’s never explored this idea more powerfully than in this film. Perhaps the true legacy of an artist isn’t the work they create, but the deep love and passion they had for their craft, which can continue to inspire others long after they’re gone. This holds true for Lorenz Hart, and we can hope it will also be the case for Hawke and this quietly moving film for many years to come.

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2025-10-17 21:01