Ethan Hawke Embodies broadway Legend Lorenz Hart in Richard LinklaterS “Blue Moon”
A poignant and often humorous new film,”Blue Moon,” offers a captivating glimpse into the life of Lorenz Hart,the celebrated lyricist behind iconic songs like “Manhattan” and “My Funny Valentine.” The film, directed by Richard Linklater and starring Ethan Hawke, unfolds on a pivotal night for Broadway – march 31, 1943 – as Hart grapples with the premiere of Oklahoma! and the shifting landscape of musical theater.
The premise promptly resonated with those familiar with the golden age of American songwriting. As one observer confessed, the story felt “specifically written” for fans of musical comedy, portraying Hart as a man who literally thought in song lyrics. The film centers on Hart’s attempt to escape the opening night festivities for Oklahoma!, a landmark production by Richard Rodgers and his new partner, Oscar Hammerstein II, seeking refuge at the iconic Sardi’s restaurant.
The tension builds as Hart, visibly unsettled, mutters criticisms of Hammerstein’s lyrics during the performance. Driven by a need to avoid offering congratulations, he retreats to sardi’s, hoping to find solace before the celebratory crowd arrives. There, he’s greeted by Eddie, the bartender (Bobby Cannavale), with a familiar line from Casablanca, initiating a well-worn exchange that subtly unravels as Hart requests a drink “never” allowed.
“Larry, you told me never,” Eddie responds, highlighting the disruption of their routine.
“I’m just gonna look at it – take the measure of its amber heft in my hand,” Hart replies, launching into a stream of consciousness that deflects attention from the opening night across the street. He fixates on trivial matters – the quality of movie scripts, the cost of flowers – and attempts to convince those around him of his infatuation with a college co-ed, despite his well-known preference for men.
Elizabeth, portrayed by Margaret Qualley, is revealed to be a genuine presence, though her role appears to serve as a shield for Hart’s deeper insecurities. His pursuit of her becomes a distraction from the emotional fallout of his nearly quarter-century partnership with Rodgers (Andrew Scott).
Adding to the vibrant atmosphere of Sardi’s is E.B. White, the co-author of The Elements of style and future author of beloved children’s books like Stuart Little and Charlotte’s Web. Hart enthusiastically declares, “I’m in love with your punctuation,” launching into a spirited discussion about the power of language and its translation into lyrics, citing “bewitched, bothered and bewildered” as a prime example. “Three perfect words in the perfect order. Just the sound of it, that’s what a writer does. We wear our vulnerability like a cloak for all the world to witness.”
The screenplay, penned by Robert Kaplow, is lauded for its insightful writing, despite the challenges of portraying a figure shrouded in mystery. Unlike many of his contemporaries, Hart left behind a remarkably sparse collection of personal papers. A music specialist at the Library of Congress noted that only approximately a dozen pages of lyric sketches by Hart are currently known to exist.This scarcity of source material necessitates a degree of creative license,making Linklater and Kaplow’s interpretations all the more compelling.
The film is further enriched by theatrical flourishes – Hart’s candid critiques of the era’s most talked-about show and appearances by emerging talents from film and theater. Linklater masterfully maintains an intimate and increasingly awkward atmosphere, culminating in a raw and emotionally charged conversation between Hart and Rodgers. The pacing, deliberately varied, reflects the nature of a dialogue-driven narrative.
One ultimately realizes that while engaging with a brilliant mind can be exhilarating, it can also be draining. Yet, as the film suggests, opportunities like this are rare – perhaps occurring only “once in a Blue Moon.”
