{"id":10042554,"date":"2025-10-24T13:11:19","date_gmt":"2025-10-24T17:11:19","guid":{"rendered":"https:\/\/vanyaland.com\/?p=10042554"},"modified":"2025-10-30T04:19:06","modified_gmt":"2025-10-30T08:19:06","slug":"iff-boston-fall-focus-2025-review-blue-moon-is-a-funny-valentine-for-ethan-hawke","status":"publish","type":"post","link":"https:\/\/vanyaland.com\/2025\/10\/24\/iff-boston-fall-focus-2025-review-blue-moon-is-a-funny-valentine-for-ethan-hawke\/","title":{"rendered":"IFF Boston Fall Focus 2025 Review: \u2018Blue Moon\u2019 is a funny valentine for Ethan Hawke"},"content":{"rendered":"\n

Calling all Oklahoma! <\/em>haters \u2014 Richard Linklater\u2019s Blue<\/strong> Moon<\/strong><\/em> is partially the feature-length excoriation of the plague that Rodgers and Hammerstein released on in 1942, one which soon spread to high school theater auditoriums and infected an entire generation of the Broadway-bound post-Ziegfeld. It is wonderfully <\/em>out of step with the slow-burn obsession that certain filmmakers and showrunners have with the subversion (and unwitting reinforcement) of its iconography*. Here, Charlie Kaufman \u2014 this is a movie properly about disillusionment and failure, which works without having to flash-fry Robert Zemeckis with a burn measured in megatons. I don\u2019t think it\u2019s unfairly applied, either, with what it did to replace the words \u201cRodgers and Hart\u201d with \u201cRodgers and Hammerstein.\u201d The latter pair created inimitable works suffused with charm and propriety, being an often well-intentioned collaboration that cloyed its way into the hearts of millions. In the process they created the modern Broadway stage, iterating on Show Boat<\/em>, and refined the image of an America (and, later, a world) that never really existed. Rodgers and Hart, on the other hand, reflected their audience as they were: a beautiful, bitter, bitchy, brassy, blithesome, bizarre boffola bummer, in which things got so bad that all you could really do was laugh before you started crying. Such were the old time rags, crying jags concealed with a lacerating wit.<\/p>\n\n\n\n

Lorenz Hart (Ethan Hawke) has plenty to sob about but, much like his tunes, he\u2019d never let you know it. Short, balding, and in need of a stiff drink even though he swears he\u2019s staying on the wagon, he ventures into Sardi\u2019s from the streets of wartime Manhattan irritated, envious and yet strangely hopeful. He\u2019s just walked out of Oklahoma<\/em>\u2019s Broadway debut, and has chills \u2014 not in the sense that one gets when they\u2019ve been moved by a stirring, emotional masterwork, but the one that\u2019s best described as \u201csomeone stepping on one\u2019s grave.\u201d He\u2019s not deluded or stupid \u2014 he knows that Richard Rodgers (Andrew Scott), his former songwriting partner, has composed a bonafide hit, and that his career is essentially cooked. Put a fork in the remnants of Vaudeville, they\u2019re well-done and charred. The bar\u2019s as much of a sanctuary as it is a place for him to camp out and, while he waits for the musical\u2019s after party to start, he shoots the shit with a friendly bartender (Bobby Canavale) and ropes in the regulars in a freeform call-and-response dripping with acrid wit. He\u2019s got two purposes in being there: first, he wants to get back in good graces with his old partner Rodgers; second, he wants to impress a much<\/em>younger Yale student (Margaret Qualley) whom he\u2019s become enamored with by the big bright lights of his influence and connections, even as they dim into a kind of pathos-laden pity. <\/p>\n\n\n\n

Never mind that he\u2019s queer (in the undefinable sense of fluid heterodox sexuality before we figured out how to categorize it) and the girl knows it, or that she\u2019s not likely to be impressed by the glitz and glamor (her mother, after all, is a member of the Guild, so she\u2019s used to premieres) or the first-edition copy of Of Human Bondage<\/em> he\u2019s brought her: the important thing is that she\u2019s on his turf and he\u2019s fully enraptured, full of instantly-empathetic longing for love. He both rightly understands his home-field advantage and underestimates its impact. Sardi\u2019s is one of the few places in his orbit where he\u2019s a master of the universe. He\u2019s recognizable to patrons large \u2014 EB White, who sits scratching away at a notepad in a corner booth, nursing a martini \u2014 and small, including a GI on leave who has some skills behind the piano, accompanying Hart\u2019s commentary with selections from his songbook. He\u2019s nervous, and like any good showman, he plunges into overdrive, wowing the patrons and even himself with his wit. It\u2019s as if he knows that this is his last shot at something resembling a happy ending \u2014 in several months, he\u2019ll be lying soaked in a gutter with fluid-filled lungs, incoherent, intoxicated, and suffering from the pneumonia that would ultimately claim his life. But that\u2019s to come, and this night\u2019s a showcase for all the grace of a falling star, one that\u2019s still shooting across the night sky with fuel left to burn. Play a stanza of \u201cBlue Moon,\u201d and he\u2019ll tell you about the movie it was written for, and he\u2019ll tell you how much he hates you that song* (in exaggerated fashion, of course). The man is in his element, the guard has not yet changed. It is his final watch over his hallowed, gin-soaked home, and he\u2019s ready to make it messy and spectacular. <\/p>\n\n\n\n

As you might expect, Hawke is ferociously <\/em>brilliant as Hart, and if you\u2019d like to describe it as a \u201ctour de force\u201d or whatever other example from the Great American Book of Critical Cliches, feel free to do so. A picture of this performance should be on the goddamned dust jacket. His timing is impeccable, with the placement of his bon mots driving the rhythm of the conversation; his accentuation of Hart\u2019s strange physiology works better than any of Linklater\u2019s in-camera attempts to portray it; and he has a clear understanding of the emotion animating all of the character\u2019s anxieties and desperation. He\u2019s afraid of his irrelevance as much as he\u2019s scared of remaining unloved, the social death being, ultimately, worse than the real one. Hawke is nearly unparalleled in authentically capturing the stress choking a character and the veneers they put up to mask it, but it\u2019s rarely applied in a fashion this potent, ensuring every other performer on screen gets the \u201cthankless\u201d descriptor when one sits down to describe their still-ample contributions to the film. Scott is exceptionally well-cast, complimenting Hawke\u2019s single-minded dynamism by maintaining an air of ambiguity, where one\u2019s unsure where the frustrated disappointment and genuine admiration for his former partner begins. Canavale is the perfect comedic compliment with his brassy exterior and unexpected grace, and Qualley maintains an ethereal presence, the fictional manifestation of a thousand of Hart\u2019s real-life failed relationships, women and men who he could only admire from a distance, yearning.  <\/p>\n\n\n\n

There are a few aspects of Blue Moon<\/em> that will draw undeserved ire, with the most obvious being the presence of cute, fictional nods to how Hart might have influenced those around him. These include White, to whom he gives the name \u201cStuart\u201d to when describing a mouse he sees in his kitchen; Yale undergraduate George Roy Hill, whom he tells to stick to stories about friendship; and a young Stephen Sondheim, who Hart wants to punt out of a window following some twerpy commentary from the kid. These feel tinny in the moment \u2014 one half expects him to bust out with \u201cJohnny B. Goode\u201d on the piano with Papa Berry taking notes on a Sardi\u2019s cocktail napkin \u2014 but feel poignant when placed in the context of the character\u2019s psyche. Here he is, consumed by his failures, watching his partner have the best day of his professional life, and his idle conversation goes on to influence American culture more than he\u2019ll ever know. Of course we know that he\u2019ll never be around for Butch Cassidy and the Sundance Kid <\/em>or Merrily We Roll<\/em>, but this myopia is a key ingredient of our experience of narrative tragedy. <\/p>\n\n\n\n

The other is the specter of the stage. With any single-location drama centered around conversation, it\u2019s not beyond the pale to imagine complaints that Linklater\u2019s direction is stagey<\/em>. When compared to Nouvelle Vague<\/em>, a much flashier film of his that may very well be playing down the hall at the arthouse multiplex when you go see this, Blue Moon <\/em>might bear the stink of dinner theater to those who like their narrative mediums distinctly separated by concrete barriers. There are two rebuttals to this: first, it\u2019s a film about theater which directly places itself in opposition to a stagebound spectacle like Oklahoma!<\/em>, and so the quiet route \u2014 the one that emulates the hush of the stage rather than its bombast \u2014 is, in fact, the most appropriate route. Second, \u201cstagey-ness\u201d often describes stilted, flat direction, but it is usually used to describe failed intimacy rather than matters of blocking and framing. On this count, I couldn\u2019t disagree more with this paper tiger-like critic that I\u2019ve invented for rhetorical purposes. When you have a performance this enrapturing, paired with writing this strong, why pirouette and draw the audience away from the true magic?<\/p>\n\n\n\n

Linklater succeeds here because of how close he brings us to this strange, lovely character, as if we were perched two or three barstools away, inevitably drawn into discussions of Casablanca<\/em> and that latest article of White\u2019s in the New Yorker<\/em>, regaled and amazed by anecdotes which can only be told by someone who considers themselves totally washed up and a has-been, desperate to see if he still has the goods that got him famous in the first place. If only he could listen to himself with some amount of distance from his problems, he\u2019d see that he does. It\u2019s in the way he talks, in the way he evokes a mood with just a few well-places descriptors, in his eternally self-effacing humor, as insightful as it is misapplied. Sure, you could find plenty of reasons to hate him (he is, after all, a nightmare to work with), but it\u2019s hard not to see Hart as a man who writes a song like \u201cMy Funny Valentine\u201d as its subject\u2019s fantasy rather than the insult-laden roast it\u2019s occasionally described as by the attractive. If only someone could have told him he didn\u2019t need to change one hair for someone to be worthy of love, perhaps he could have sorted the signal \u2014 quit drinking \u2014 from the noise of rejection-stung self-criticism echoing through his head. It\u2019s a bitter, beautiful tragedy from which he can\u2019t extricate himself, in which his lust for life and love goes unfulfilled, washed down the gutter, only a tune remaining. Isn\u2019t it romantic? <\/p>\n\n\n\n

* My personal favorite cover of that standard is Elvis\u2019 melancholic variation, a low-fi outtake included as an extra on reissues of his self-titled first record.<\/em><\/p>\n\n\n\n

** Seriously, guys, go the\u00a0True Detective\u00a0route and make recappers and reviewers sing for their supper. Or at least have them googling who the hell Richard Chalmers is.\u00a0<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Calling all Oklahoma! haters \u2014 Richard Linklater\u2019s Blue Moon is partially the feature-length excoriation of the plague that Rodgers and Hammerstein released on in 1942, one which soon spread to high school theater auditoriums and infected an entire generation of the Broadway-bound post-Ziegfeld. It is wonderfully out of step with the slow-burn obsession that certain filmmakers and showrunners have with the subversion (and unwitting reinforcement) of its iconography*. Here, Charlie Kaufman \u2014 this is a movie properly about disillusionment and failure, which works without having to […]<\/p>\n","protected":false},"author":48,"featured_media":10042555,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[19452],"tags":[35937,10257,35963,10845],"class_list":["post-10042554","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-filmtv","tag-blue-moon","tag-ethan-hawke","tag-iff-fall-focus","tag-richard-linklater"],"yoast_head":"\nIFF Boston Fall Focus 2025 Review: \u2018Blue Moon\u2019 is a funny valentine for Ethan Hawke<\/title>\n<meta name=\"description\" content=\"Richard Linklater\u2019s \u2018Blue Moon\u2019 is a showcase for Ethan Hawke, 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