Blue Moon (2025)

 ☆ ☆ ☆ ½

Blue Moon (2025) – R. Linklater

Ethan Hawke is impressive in a virtual transformation into lyricist Lorenz Hart (one half of the Rodgers and Hart duo responsible for popular standards and Broadway musicals) on a particular evening at Sardi’s in New York City in 1943. The occasion is the opening night for Oklahoma!, a new musical by Rodgers and his new collaborator Oscar Hammerstein. Hart is a witty raconteur keeping the bartender and pianist and occasional waitress or hat check girl entertained, as they await the arrival of the cast and crew post-show.  He’s dirty-minded but erudite, displaying an impressive memory for lyrics and writing (his own and others), particularly when chatting up author E. B. White who sits in a corner of the bar.  Not unlike the Before Trilogy (e.g., Before Sunrise, 1995), Blue Moon is all talk – but without Julie Delpy, this is entirely Hawke’s show.  Despite his humor and witty stories, it is easy to see that Hart is deep down a sad and lonely figure, fixated on a possible romance with 20-year-old Margaret Qualley (Hart is 47 but looks older) that is clearly never-to-be.  When Rodgers arrives, it’s sad to see Hart’s thinly veiled desperation, as they discuss possible future shows. Obviously, Hart has made a hash of his life because of alcohol, nightlife, and general dissolution. Hawke and Linklater keep viewers absorbed despite the lack of action, even if there’s the occasional distraction caused by clumsy attempts to make Hawke look as short as Hart apparently was.  Enjoyable, particularly if you are a Broadway musical afficionado (and are prepared for salty talk).