Final Rating: 4/5
Ed. note: Read our original review of Blue Moon from VIFF.
In Blue Moon, veteran director Richard Linklater looks at one of the most important nights in the life of musical lyricist Lorenz Hart (Ethan Hawke), whose former writing partner Richard Rodgers (Andrew Scott) would go on to become one of the most famous musical composers of all time. Taking place in a single location, Blue Moon is a character study of a man unwilling to admit he’s at the end of his rope, waiting (in vain) for the world around him to collapse without his input.
Blue Moon takes place within a bar near Broadway on March 31, 1943, the opening night of Oklahoma!, the first collaboration between Rodgers and up-and-coming lyricist Oscar Hammerstein. Hart, saddened by his former partner succeeding without him, but unwilling to show it, leaves the premiere early to get Eddie the bartender’s (Bobby Canavale) ear before the afterparty arrives. Hart is an alcoholic curmudgeon, but a charismatic one. Eddie knows his worst habits and is nevertheless swayed to let Hart enjoy his evening as he waits for his date: a fine arts student named Elizabeth Weiland (Margaret Qualley).
As a character study, Blue Moon is heartbreaking. Hawke’s Hart is abrasive but charming, as exciting to listen to even as he tears down those around him. The more he speaks, the clearer it becomes that his snarky attitude is largely an act. He’ll brag for several minutes about himself but becomes truly passionate when he finally manages to talk about the people he knows. He’s immensely proud of Rodgers, and for all the shade he wants to throw at Hammerstein, most of what he actually says is neutral or positive. And of course, his descriptions of Weiland enchant everyone at the bar.
Hart is delightful, but the stories he tells feel final, like someone telling his life’s story to an audience tasked with passing it on. The people around him speak as if eulogizing him. Whether consoling or reminiscing, every conversation Hart has celebrates him and his accomplishments as though he has nothing more to achieve.
When talking about his work, people praise what he’s done but are uninterested in what he’s doing. When talking about his collaborations, people emphasize how great his friendships were, but disregard any he has now. To be fair, the biggest reason for this is Hart isn’t working on anything at the moment and doesn’t have any notable friendships. He’s a man living in the past because there’s nothing else, a man whose former life is great in the same way it would be if he were dead.
Qualley and Scott shine as Hart’s two closest friends, both of whom are moving past him in different ways. Qualley’s Weiland excitedly gossips to Hart about her college crush, regaling him with sordid stories and gossip as if talking to her closest friend. As the night wears on, however, she makes it clear there’s nothing deeper between them – despite Hart’s admittedly timid romantic advances.
Scott’s Rodgers engages with Hart as an old associate keeping friendship at arm’s length. As the two reminisce, it’s clear there was once warmth between them, but that the relationship has cooled. Both are elated and frustrated that the biggest night of Rodgers’ career is the one celebrating his first collaboration with someone other than Hart. As Hart desperately tries to pitch new projects to Rodgers, any potential excitement is snuffed out as Rodgers imagines picking up the slack for Hart on a new project.
The spectre of death looms heavy over Blue Moon, but like Hart, never quite takes the spotlight. For all the underlying sadness, it’s still a movie about a man who wants to be the centre of attention. As he tries and fails to put himself back in the spotlight, Hart seems not so much to push away those around him, but rather to reveal how far away they already were.
In November of that year, Hart would die behind a bar after failing to stay on the wagon. In Linklater’s version, he spends his final moments cold and alone, but scarcely colder or more alone than seven months earlier.
Thank you to Mongrel Media and Star PR for the screener.
