The Wasteland Reviewer

Blue Moon (2025) Written Review

Who is Lorenz Hart? You might know the names of Rodgers & Hammerstein…but less of you will know the classic combo of Rodgers & Hart. Before the release of Oklahoma! changed the world of musicals and Broadway shots, Richard Rodgers had a different lyrical partner in crime. Short. Messy. Pretentious. Genius. These are all words that can describe Hart. All these descriptors can be seen in action in Richard Linklater’s latest directorial effort, Blue Moon. Written by screenwriter Robert Kaplow, this new drama finds Linklater working in a story structure he certainly knows…a slice of life. 

How does Blue Moon present this icon of musical theater? Kaplow’s script is just one night in the life of Hart and those in his inner circle. But this is not just any night…this is opening night for Rodger & Hammerstein’s first effort together. This could be assumed to be one of the worst evenings of Hart’s life. His former partner has moved on from their career together and now has the biggest hit of his life. Hart looks on as praise is dumped from all sides on Rodgers and Oklahoma! But that is not the extent of Hart’s evening. Kaplow’s script certainly follows this fracturing and fragile partnership and friendship as it confronts Hart’s own destructive behavior and his caustic personality. But Hart connects with other artists on the downturn as well as conversing with those who work in his favorite place…a lobby bar. But Blue Moon also explores the unrequited love story that torments yet reinvigorates Hart’s life (one with a 20-year-old protégé who does not “love him in the same way”). The overall concept can be easily contrived as so many significant things are packed into one evening. Kaplow can avoid such a feeling by threading these narrative and thematic beats together in ways that make sense. This is a historic night for those in Hart’s life. He will see Rodgers on high, come face-to-face with his former partner’s new collaboration, struggle to not drink his senses away, and try to navigate the complex dynamic with this young protégé who wants to meet Rodgers so badly. 

What helps Kaplow’s story come to life so effectively? When you have a filmmaker like Linklater handling a narrative like this, Blue Moon is in such great hands.  The pacing of this film is so smooth and effortless. These 100 minutes fly by despite being confined to this lobby. The conversations pop with energy, humor, tension, and emotion. These characters have a lot of personalities and Linklater can capture that spark. Musicality gives the film personality and captures the period perfectly (especially when telling the story of music creators). The editing is crisp and smooth which matches well with the sleek and classy presentation (done so well by cinematographer Shane F. Kelly). Linklater creates a refined-looking film that captures the magical period of this early 20^th century setting. The film feels so engaging and charming as Linklater finds the right frequency to hook his audiences and leads them into this emotionally charged evening. Funny, moving, and intelligent; Linklater makes them all feel so authentic. 

With such a confined story, who really needs to step up? The cast and they certainly do. Ethan Hawke is one of the muses of Linklater’s career and he seems like such an interesting choice for this role. The height difference is handled quite well with only a few moments of awkwardness in how Hawke moves around. But Hawke’s performance feels big and theatrical to fill out this space. Not known for being that type of presence, it does still feel effective and engaging. The insecurities and caustic behavior feel so natural in the hands of a talented performer like Hawke making Hart come to life quite well. Margaret Qualley is effortless in her beauty and committed in her performance that radiates charm and still finds space to allow some genuine emotion to seep through as well. Andrew Scott is such a talented performer who really has a moment in his character, and he walks into Blue Moon (portraying Rodgers) with a unique reservation and charm which works perfectly in contrast to Hawke. Bobby Cannavale is not one of the big-named characters of the film, but he makes for such an engaging and significant foil to Hart as the more grounded influence in his life (as the charming and fun bartender). Each of the smaller roles feels so genuine as well as praise for casting directors Aine O’Sullivan and Olivia Scott-Webb for their excellent work. 

Is Blue Moon another impressive notch in Linklater’s storied career? This might be a step below those masterpieces that Linklater is known for but this is a wonderfully charming and moving experience for sure. It is odd seeing Linklater bringing a story to life that isn’t his own, but he handles Kaplow’s script with such care that their sensibilities come together so well. But it will be Hawke who garners the most attention for his excellent and memorable work at the heart, as Hart, of Blue Moon.