The time: March 31, 1943. The place: New York—specifically, Broadway’s St. James Theater. It’s the opening night of “Oklahoma!,” the first show by composer Richard Rodgers and lyricist Oscar Hammerstein III.
High in a box above the stage, Rodgers’ former songwriting partner Lorenz Hart sneers at the musical’s hokey sentiment and facile verses. He hates the exclamation point in the title. He hates that Hammerstein rhymed “land” with “grand.” Most of all, he hates knowing that the show—and the Rodgers & Hammerstein alliance—are both bound for glory.
That’s the setup for this bitter, funny, extraordinary film, directed by Richard Linklater, with Ethan Hawke in the performance of a lifetime.
After the show, everyone flocks to Sardi’s to wait for the reviews. Perched at the bar, Larry Hart downs shot after shot, making light of his status as Rodgers’ former collaborator; the witty monologue barely disguises his feelings of abandonment. After all, he and Rodgers worked together for 20 years, penning standards like “My Funny Valentine,” “The Lady Is a Tramp,” “Manhattan,” and the title tune. The problem is Hart’s alcoholism. He is brilliant but unreliable. Finally, the businesslike Rodgers found a better match in Hammerstein.
There’s an iron-clad axiom of storytelling: Show, don’t tell. Forget the talk-talk-talk and get down to the action. “Blue Moon” is the exception to the rule—it has to be, because for Larry Hart, the spoken word was everything. Another rule broken: with the exception of two brief opening scenes, the movie never ventures outside the crimson walls of Sardi’s bar. At times, that choice feels stagey, almost claustrophobic. But’s it’s a minor point, because this is all about the performances.
Inside that bar, Larry trades verbal volleys with bartender Eddie (a wonderful Bobby Cannavale) and a young pianist (the affable Jonah Lees). Andrew Scott as Rodgers is a study in conflicting emotions: clearly fond of his longtime partner, but also exasperated by him, impatient with him, and embarrassed for him. It’s a subtle characterization, and a fine one.
Here’s another wrinkle: Hart, who was known to be gay or bisexual, is infatuated with a 20-year-old aspiring set designer named Elizabeth (the gorgeous Margaret Qualley). And what does his dream girl want? An introduction to Richard Rodgers.
As Hart, Ethan Hawke is hilarious but tragic. He is also nearly unrecognizable, an almost 6-foot leading man playing the gnomish, 4-foot 10-inch Hart. The pathetic combover, hunched posture and fawning manner toward Rodgers show a man who feels deeply unlovable. The 47-year-old lyricist would die within a year.
For lovers of language and the arts, “Blue Moon” is a rare treat. For lovers of film, it’s a welcome change from the usual CGI shoot-em-ups and horror-franchise flicks. As for Ethan Hawke, just give the guy an Academy Award.
Marjorie Preston is a business writer, editor, ghostwriter and compulsive reader, who gobbles up books like potato chips. For more information (and more book reviews), visit marjorieprestonwriting.com.
