Actor Ethan Hawke and director Richard Linklater are a Hollywood collaboration that deserves more attention. Their contribution to American cinema has been more low-key than other actor-director duos, but all the movies they have made together are outstanding. Their latest, Blue Moon, achieves that same quality. Headlined by a terrific performance from Hawke, Blue Moon is an engaging character study with incredible humor and pathos.
Blue Moon takes place almost entirely at the famous Sardi’s restaurant in New York on the night of March 31, 1943. That night, the Rodgers and Hammerstein musical “Oklahoma!” premiered. Rodgers’ creative partnership with Lorenz Hart (Hawke), which had lasted for more than 20 years, was effectively at an end. Hart attempts to save face the whole night. He holds court in Sardi’s bar, discussing art and life with various people, like bartender Eddie (Bobby Cannavale) and pianist Morty (Jonah Lees). He tries to salvage his connection with Richard Rodgers (Andrew Scott) when he and Hammerstein come in to celebrate their success. Most of all, he fixates on the young college student Elizabeth Weiland (Margaret Qualley).
The script of Blue Moon is delightfully witty and talkative, while the direction is intimate and confident in equal measure. The acting is the perfect compliment to all of this. Hawke’s award-worthy performance gets wonderful support from Scott and Qualley. Blue Moon is a standout viewing experience of 2025.
MORE: Want more Richard Linklater? Read our review of Hit Man!
“I went directly from childhood to washed up.”
Hart, who wrote the lyrics while Rodgers wrote the music when they worked together, is an excellent subject for a film like this. He is talented enough to have left an incredible songwriting legacy, but he’s also not so much of a household name that the audience feels like they know everything about him already. This film makes him both interesting and relatably human. Screenwriter Robert Kaplow and Hawke share the credit for this. A high percentage of the script is Hart talking, so the whole film kind of lives or dies on the words this man says and the actor saying them. They both work.
Let’s start with the words. Kaplow clearly started from a place of respect for Hart, and he takes care to flesh out the man on screen. Hart was semi-closeted. This LGBTQ representation is subtly integrated into the story, making up just one of the many facets of who Hart was. The intelligence and energy Kaplow manages to capture is remarkable. The fact that the story unfolds in one place is not a limitation for him.
Through Hart’s various interactions, Kaplow shows us who he is. We see how extroverted he is and his love of words. Especially the ones that come out of his own mouth. We also see that, at least partially, his alcoholism stems from his need to deal with the way the rest of the world pushes back against his narcissism. When this film is over, we recognize how Hart is someone whose calling is to put words to music.
Besides the words, the acting brings Hart to life. Hawke’s calling is to be an actor. This performance is one of the best of his career. Maybe THE best. The dialogue is nearly all on his shoulders to deliver, and deliver he does. Hawke has always been more like a character actor stuck in leading man looks. This particular role allows him to play off that balance very well. Then there is the height thing. Various tricks were used to make the above-average Hawke look like the short Hart. It’s jarring at first to see Hawke standing shorter than everyone else, but it turns out to be more than a gimmick. It’s historically accurate. But it’s also an essential element of his character.
MORE: If you want to learn more about Richard Linklater’s upcoming film Nouvelle Vague, check out our list of 10 Most Anticipated TIFF 2025 Films!
“We wear our vulnerability like a cloak.”
The direction is another area that impresses. Linklater ensures that the enclosed setting never feels claustrophobic. By varying the shots, he allows the narrative to avoid feeling constrained or small. One memorable tracking shot follows Hart through Sardi’s, and it occurred to me that Linklater’s visual choices are founded on an empathy for his lead character. This makes sense when you think about all the songs Hart contributed to that we still know today. Hart is a part of the Great American Songbook just like Linklater is a part of the Great American Filmography. They are both artists in their respective mediums, creating work they hope will outlive them.
When it comes to Linklater and Hawke’s collaborations, their productions so far have connected through the theme of time. The trilogy of Before romance films detailed one couple at various stages in their lives, while the stunning Boyhood was filmed over 12 years as the lead character aged from a child to a teenager. There’s a large scope to them. This film operates as a sort of foil to that. This story is a brief snapshot of one extraordinary, interesting person’s life. For me, the proof of Linklater’s skill as a filmmaker lies in the fact that he finds the meaning in both types of stories.
Another feature of the script that I want to mention is the care that went into many of the details. Hart meets E.B. White (Patrick Kennedy) and discusses writing with him, even to the point of inspiring him with the name Stuart for his children’s book. Such a fun touch for those of us who love to read! Also, Kaplow didn’t forget that World War 2 was going on at the same time as this story. The topic is briefly addressed, and we get a hint that “Oklahoma!” will be a huge hit in part due to escapism. With so many layers to the script, Blue Moon has a good chance to be one of the best films of the year, and Ethan Hawke’s superb performance makes that even more likely.
MORE: Ethan Hawke has another movie in theaters. Read all about the trailer for The Black Phone 2!
4 ½ stars out of 5
Blue Moon is now playing in theaters from Sony Pictures Classics.
