By Mark Fields
Poignant, Stagey Drama with Niche Audience
As an admitted Broadway history junkie, I am pre-inclined to appreciate a film such as Blue Moon, an exploration of the psyche of renowned lyricist Lorenz Hart. Set nearly entirely on the opening night of his former collaborator Richard Rodgers’ new hit musical, Oklahoma! (which Rodgers wrote with new partner Oscar Hammerstein II), the movie is a poignant, albeit stagey drama for a very niche audience of Broadway aficionados. Its strongest bid for acclaim is the bravura performance of Ethan Hawke as the alcoholic, depressed, and bitter Hart.
Rodgers and Hart were darlings of the New York theater world for more than 20 years, writing incredible songs (more than 500 of them) for musicals that have largely been forgotten. The songs, however, remain enshrined in the Great American Songbook: “My Funny Valentine,” “Isn’t It Romantic,” “Where or When,” and of course, “Blue Moon.” But Rodgers moved on to another, even more successful collaboration with Hammerstein, in no small measure because of Hart’s personal problems’ distracting from his professional responsibilities.
Blue Moon, a biographical fantasy inspired by screenwriter Robert Kaplow’s discovery of a set of letters between the semi-closeted Hart and a female Yale student (Margaret Qualley), imagines the storied lyricist stewing in his resentments, in the legendary Sardi’s no less, on the night of his one-time colleague greatest triumph. Ever the raconteur, Hart entertains the Sardi’s staff (including bartender Eddie played by Bobby Cannavale), shares drinks with similarly embittered writer E.B. White (Patrick Kennedy), and attempts to co-opt Rodgers (Andrew Scott) to write a new show. There is no real plot to the story, just a focused character study of a familiar show biz archetype, the damaged genius.
The movie, which feels more like a play than a film with its single set, small cast, and talky dialogue nevertheless offers an opportunity for tour-de-force acting by Ethan Hawke. Almost unrecognizable as the diminutive lyricist (complete with a bad comb-over), Hawke revels in Hart’s biting wit and towering self-pity as he gamely struggles with his alcoholism and depression (and the toll both have taken on his health and career). Cannavale, Qualley, and Scott provide able support, but their characters only exist for Hawke’s Hart to interact with.
Director Richard Linklater, who has partnered frequently with Hawke (Before Sunrise, Boyhood), wisely keeps the camera focused on Hawke without any directorly frills. Since very little actually happens in the film, the emphasis is on talking, a lot of talking. Fortunately, Linklater has demonstrated in past films a gift for making actors just talking still visually and narratively satisfying. He does so again here.
The set and costume design wonderfully reflect the rich, warm palette of war-era Broadway, even within the limited environment of Sardi’s. The musical accompaniment to the film, provided by a minor character playing showtune hits on the bar piano, also fondly evokes a bygone era. And, Kaplow’s screenplay contains enough Broadway Easter eggs and inside jokes to entertain the niche audience this film will attract, name-stopping famous composers and actors, and even featuring a sly appearance of an adolescent Stephen Sondheim (once a young protégé of Hammerstein).
But that is probably the fundamental problem with Blue Moon; both its subject and its approach seemed destined to appeal to a very narrow audience. I fit within that small group, and so enjoyed the movie. But I can’t imagine that it will appeal to many, despite an Oscar-worthy performance by its star.
Official Trailer
