Oscar Nominee Film Review: BLUE MOON

The acting challenge that Ethan Hawke saw in the script for BLUE MOON was something that any actor would not have passed up and with his long-time collaborator, Richard Linklater, set to direct - it was a dream project for him.

And it feels like an Actor’s/Director’s dream project and not a fully fleshed out piece of work.

Looking more like a filmed stage play, BLUE MOON tells the fictionalized story of one night in the life of lyricist Lorenz Hart - who with his composer partner Richard Rodgers wrote such well known Musicals as PAL JOEY, BABES IN ARMS and ON YOUR TOES as well as such hit songs as BEWITCHED, BOTHERED AND BEWILDERED, THE LADY IS A TRAMP and, of course, BLUE MOON.

But, the one night is a doozy as the events of the film take place in the bar where the Opening Night party for Richard Rodgers (and his new lyricist Oscar Hammerstein) celebrate the success of their new musical OKLAHOMA.

We view Hart as a lost, delusional, alcoholic man who is at times charming, often-times annoying and constantly kidding himself about his life.

Why wouldn’t something like this draw an actor and in Ethan Hawke, this film did find a performer that is capable of holding your attention during the almost 2 hour length of this film. As stated above, the film is set in one location and the camera follows Hart around the bar, engaging in conversation and false bravado.

Hawke is, rightfully, nominated for an Oscar for his work in this film. He’s very good and seems to understand the man behind the character that he is portraying. It is a grounded, truthful performance that draws the audience into the man that is Lorenz Hart.

Unfortunately, Lorenz hart…and the rest of the film… just aren’t that interesting to watch.

The script by Robert Kaplow and Elizabeth Weiland is meandering and doesn’t dig deep enough into Hart or (more egregiously) the other people at the party, like a wannabe actress that the closeted Hart is externally lusting for (played by Margaret Qualley of THE SUBSTANCE fame), Oscar Hammerstein (Simon Delaney, INSIDE MAN) and, especially, his old partner Richard Rodgers. At least Andrew Scott (FLEABAG) breathes life into an underwritten character punctuating the film with some life and a change of rhythm to the film when he is interacting with Hawke.

Oh…and Bobby Canavale (BLUE JASMINE) is wasted in the thankless role of the bartender at the party who’s sole purpose seems to be as “Basil Exposition” and to give someone for Hawke to play off of so his long rants don’t come off as showy monologues.

In the end, Director Linklater (BOYHOOD) does this film no favors by keeping the camera on Hawke in the bar. His direction keeps this film at one level and the Hart character, quite frankly, just isn’t that interesting.

Oh…and Linklater makes the odd choice of doing camera tricks (like forced perspective) to accentuate the physical smallness of Hart - and it doesn’t really work, it’s distracting.

This film is crying out to be made into a stage play - and perhaps there it would succeed better.

Letter Grade: B- (for Hawke’s performance)

3 stars (out of 5) and you can take that to the BankofMarquis