They were Broadway’s dream couple: between 1919 and the early 1940s, Richard Rogers and Lorenz Hart composed some of the biggest hits of the 20th century. Hart wrote the clever lyrics, Rogers composed the unforgettable melodies. They created evergreen songs like “My Funny Valentine“ and “Blue Moon.“ They wrote over 500 songs for countless musical successes. Director Richard Linklater has wanted to film Lorenz Hart’s tragic life for a long time, but it was only when his friend and regular Ethan Hawke reached the right age that it was time. As it so often happens, the impressive patience, that Linklater (BOYHOOD) regularly exhibits in his projects, has paid off.

Hawke shines as Hart and fires off a staccato of clever dialogue, which screenwriter Robert Kaplow, with whom Linklater had already worked on ME & ORSON WELLES, puts into his mouth. He depicts Hart as both a pitiful and lovable artist that attempts a comeback at the premiere party of “Oklahoma!“ nine months before his early death. But his love of alcohol has put a wedge between him and Rogers (Andrew Scott). In the meantime, he is celebrating even bigger successes with his new partner Oscar Hammerstein II (Simon Daleney). His worshipped Elizabeth (Margaret Qualley) sees Hart as nothing but a good friend, even if his lively imagination sees it differently. And so he’s only left with the company of bartender Eddy (Bobby Cannavale) and his pianist Morty Rifkin (Jonah Lees). BLUE MOON is a chamber play that – as is often the case with Linklater – – thrives on the constant barrage of dialogue. It is head-spinning. Hawke’s engaging performance, which was also Oscar nominated, stays with you for a long time.

Lars Tunçay

Translation: Elinor Lewy