Even if you’re not a musical theatre buff, chances are that you’ve at least heard of Rodgers and Hammerstein thanks to Oklahoma!, The King and I, and The Sound of Music. People are less familiar with Rodgers and Hart, specifically the latter. Richard Linklater’s film opens with a radio announcer listing the songs that Lorenz Hart wrote the lyrics to. Blue Moon is singled out as his most well-known work. I’d actually argue that My Funny Valentine is more widely recognized, although Blue Moon is a more poetic reflection of Hart’s lonely life. So naturally, that’s the name of this biopic.
Between Blue Moon and My Funny Valentine, Hart was far from a nobody. With Richard Rodgers going on to write hits like Oh, What a Beautiful Mornin’, Shall We Dance, and Do-Re-Mi with Oscar Hammerstein II, though, his partnership with Hart was eclipsed. Ethan Hawke gives one of his most energized and – for lack of a better word – transformative performances as Hart, who’s depicted as a man getting in the way of his own success. Part of that has to do with his alcoholism, which only further fuels Hart’s greatest folly: his ego. Rather than try to cover Hart’s entire life, the film takes place on Oklahoma!’s opening night. Hart can’t even get through the whole show, retreating to the bar where the afterparty is being held. Robert Kaplow’s script is structured like a play, which seems appropriate given the subject matter.
Bobby Cannavale’s bartender lends a sympathetic ear to Hart, who criticizes every aspect of Oklahoma!, from naming the main character Curly to the exclamation mark in the title. When Rodgers (Andrew Scott) arrives, though, Hart showers him and Hammerstein (Simon Delaney) with praise. As corny as he thinks it is, Hart isn’t being entirely two-faced when he says the show will run for years. He knows what will be a commercial hit, but Hart has little interest in giving the people what they want. Hart thinks he’s above that, although if a majority of the public loves something, is one cynic right?
Hart and Hammerstein share the most intriguing dynamic in Blue Moon. Despite badmouthing Oklahoma! behind his back, Hart knows that Hammerstein was responsible for at least one-half of his own success. Hammerstein doesn’t want to kick his old partner to the curb either, offering to collaborate on a revival. There’s a mutual respect and genuine friendship underneath the unspoken tension. That said, these two are clearly headed down two paths: one to the summit of the Broadway world and the other to a lonely end.
Hart seeks companionship with Margaret Qualley’s Elizabeth Weiland, a blonde bombshell looking to break into the Broadway scene. While Qualley is good here, her character overshadows Hart for a brief section of the film. It’s worth noting that, despite proposing to women, Hart was gay. It was something of an open secret among those who knew him, but a secret nonetheless. Blue Moon doesn’t outright erase Hart’s sexuality like the 1948 biopic Words and Music starring Mickey Rooney. You can see Hart struggling with his sexual identity, although for a gay figure, the film dedicates a considerable amount of time to a heterosexual relationship.
Although the film might not fully encompass who Hart was, Hawke does completely give himself to the role. The 5′ 10″ Hawke might seem like an unusual choice to play Hart, who was about ten inches shorter. That’s nothing clever staging and camera trickery can’t fix. While Hawke reportedly shaved his head, his combover isn’t the most convincing. There’s much more to Hawke’s portrayal than the aesthetics, however. Hawke embodies a man who’s larger than life, regardless of his stature. He’s the kind of guy who’ll talk your ear off at the bar. Hart may alienate those around him, yet you’re drawn to him nonetheless. Like Hart, Linklater’s film isn’t easy to love, but you’ll still hang on every word.