Director Richard Linklater loves passion projects and collaborations with a real ‘actor’s actor’, Ethan Hawke. Their latest venture is a true gem. “Blue Moon” stars Hawke as lyricist Lorenz Hart. It’s 1943, and after watching the opening night performance of “Oklahoma!” in NYC, Hart heads to a nearby restaurant to share his thoughts on the show… and much more… with the bartender (played by a refreshingly restrained Bobby Cannavale) and whoever else is willing to listen. Hawke quickly becomes Hart (a detailed observer), delivering some of the most intelligent, clever, honest and poignant dialogue of the year. Robert Kaplow’s screenplay is a treat, especially for writers, as much of it focuses on the art of writing. E.B. White shows-up — a fantastic presence. There’s also a young piano player — another great character.
Hart just witnessed the first collab between his longtime partner Richard Rodgers and Oscar Hammerstein II. They, of course, would go on to massive success that still has an impact today. But it’s pretty incredible what Hart and Rodgers created as a duo — dozens of legendary songs, many named by a radio announcer during the opening scene. And Hart wants to keep going, but it’s clear Rodgers (played by Andrew Scott) has some reservations. Two extended scenes between Hawke and Scott are some of the best I’ve seen in any film in the past five to ten years. Both actors show emotion in distinct ways, and you’ll be glued to the screen. Hart is jealous and angry. He’s seen and lived through so much, and the pain is eating him alive. And yet — he’s still smiling and very aspirational, not knowing what’s around the corner. Rodgers is trying his best to hear-out Hart’s thoughts on future productions (and unfiltered remarks on “Oklahoma!”) and feels a sense of gratitude and loyalty, but also knows their relationship is not — and will not continue to be — the same as it once was. A tense, brilliant dynamic.
And then there’s the girl. Margaret Qualley is very good as Elizabeth, a college student who Hart deeply admires. But how does she feel about him? This is the only aspect of “Blue Moon” that feels predictable. Qualley delivers a third act monologue well, but because we know where we’re headed (even though Hart doesn’t), this section makes the momentum drag a bit. Still, there’s plenty of insight to what she and Hawke have to say about relationships and what it means to be in love.
If “Blue Moon” was a play (and it often feels like one, just put on film), Hawke would be the definitive frontrunner for that year’s Best Actor Tony Award. Movie awards season is way too long and chaotic, but I hope Hawke can shine through over the next few months. And seeing Scott on a ballot or two (following his Berlin Film Festival win earlier this year) would be welcome as well. This tragedy, with humor, is one of my favorite pictures of 2025, making me feel a little less blue about a largely underwhelming cinematic year.
LCJ GRADE: A-
Running Time: 100 min.