If you think you don't know Lorenz Hart, think again—you've probably sung along with his unforgettable tunes. As one-half (the lyrical half) alongside Richard Rodgers, Hart helped shape early 20th-century Broadway and gave us some absolute gems that define what we now call "The Great American Songbook." But while his professional life soared, his personal life was a different story altogether, marred by struggles with depression and alcoholism. He left us at just 47, a life cut short by pneumonia in 1943.
Have you caught Richard Linklater's new flick, "Blue Moon"? It hit theaters on October 24 and offers a fascinatingly layered look at Hart. The film paints an imaginative, artistic picture, zooming in on a painful moment: opening night at "Oklahoma!"—the very thing that marked Rodgers' new successful partnership with Oscar Hammerstein II, after Hart and Rodgers parted ways.
The film takes us right inside Sardi's, an iconic Broadway haunt, where Ethan Hawke steps in as Hart. It's opening night, and Hart finds himself talking with a bartender, played by Bobby Cannavale, and a young pianist, portrayed by Jonah Lees. Despite his determination not too drink, Hart reaches out towards whiskey, and everything unfolds in real-time—a mix between his own thoughts and spoken words.
Hart's presence at Sardi's isn't about basking in someone else's glory. He longs instead after Elizabeth, played by Margaret Qualley, a 20-year-old college student who's his musical protégé. Hart's hidden gay identity, an "open secret" in Broadway circles, adds complexity, especially in terms towards his emotions towards Elizabeth. The film beautifully navigates these intricacies and unravels his inner battles.
Linklater doesn't hold back — he gives us a candid look at Hart, a gay man grappling with his identity in a time that couldn't accept him. Ethan Hawke's gripping performance captures this perfectly, showing us a man torn between living his truth and hiding it away. Once a celebrated Broadway figure, rumor and whispers dragged Hart down a path where denial and alcohol seemed like his only escape.
"Blue Moon" carefully avoids becoming a drear tale by weaving Hart's quick wit and lyrical genius through its narrative. It makes you feel and root even when he's his own worst enemy. Linklater crafts a film filled with humanity—inviting viewers, not just as spectators, but as understanding witnesses.
In a stroke that'll thrill theater buffs, Linklater imagines Hart brushing elbows with icons like a young Stephen Sondheim and E.B. White at Sardi's. Whether these are fanciful tales or snippets from reality, they highlight Hart's enduring influence on generations. They're delightful nods that remind us why Hart's work continues captivating us.
Melancholy in its bones, yet alive with Hart's humor, “Blue Moon” pays homage with flair. The film leans on its Old Manhattan charm, and Linklater stitches this all together with a cast that truly shines. Ethan Hawke's portrayal manages a tricky balance between Hart's larger-than-life personality and his vulnerabilities, breathing life and truth onto Hart's intricate character.
Andrew Scott portrays Rodgers with a perfect mix—friend but also a partner in conflict post-split. Margaret Qualley's Elizabeth walks that tricky line between admiration and tender yet unfulfilled feelings. Cannavale anchors as a streetwise bartender, while Patrick Kennedy as E.B. White lends thoughtfulness with a genuine touch.
Linklater doesn't pin Hart down with labels. Hart once called himself "ambi-sexual," and “Blue Moon” embraces this nuanced identity, pivoting around love and longing as experiences shared across humanity. It's that core, those universal emotions, reflecting both in Hart's lyrics and Linklater's film, letting us in on an artist whose work continues touching us deeply.
Ultimately, “Blue Moon” stands as a heartfelt homage—a glimpse at a brilliant, troubled, and lonely artist whose legacy sings on in music and beyond.
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