- Date of Release: 17 October 2025
- Genre: Biopic, Comedy, Historical, Music, Romance
- Language: English
- Watch On: Zee5 Premium
Blue Moon
Introduction
I have often been posed this question on why do you take the effort to name most of the cast and crew of a film in my reviews. The answer is simple and poignant at the same time – it is the job of the critics to maintain the relevancy of an artist. It is okay to criticize them but never make an artist irrelevant by just not discussing/mentioning their work! The English film Blue Moon opens with a couple of lines that are contrasting to each other – much like the trajectory of the narrative. Words like alert, dynamic and fun are used on one hand, only for another line to read on a particular artist being ‘saddest person’ known to someone. It is quite ironic on how the life of an artist is often sandwiched between such contrasting phases – more so today in times of the social media that chooses to lap up an individual in one instance, and completely destroy the same individual in the very next instance. So amidst the white noise when you are introduced to Lorenz Hart (Ethan Hawke) for the first time – you are witness to his rambling steps that eventually give way to a fall in perhaps a motion that is an accurate representation of his career as a lyricist of the Broadway.
Story & Screenplay
Based on a true incident and written by Robert Kaplow, Blue Moon essentially unfolds over a single night even as an early reel acquaints us with the frailty of Hart while witnessing a broadway called Oklahoma! Hart is the former half of the Broadway writing team of Rodgers and Hart, even whilst the former has moved away from him to team up with Oscar Hammerstein II. In an early scene, you see Hart stepping away from the broadway before the curtain call. On the face of it, Hart remains cynical of the broadway – often questioning the corny lyrics or the exclamation mark in the name of the song, but in heart of hearts, it represents the psyche of an artist who is on the verge of irrelevancy.
It is perhaps quite ironic on how the most cheerful version of Hart unfolds in front of strangers in the form of the bartender Eddie (Bonny Cannavale), the unlisted piano player Morty (Jonah Lees) and the then struggling writer E.B White (Patrick Kennedy). In a reference to the 1942 film Casablanca, he references the lines – ‘Nobody Ever Loved Me That Much’, six words that have a deeper meaning in Hart’s life. It remains a reflection of an artist in what is the most heartbreaking portrayal of irrelevancy, even though it may seem that Hart is only discussing a film. In another scene, Hart also helps ideate a children’s story for E.B White – perhaps subconsciously having a soft corner for writers while discreetly hoping that the plague of irrelevancy doesn’t impact the lives of other writers. Perhaps for him, he would stay alive in someone else’s work. It that sense Hart remains similar to Guru Dutt’s characters from Pyaasa (1957) and Kaagaz Ke Phool (1959) – two of the biggest classics of Hindi Cinema.
The physical appearance of Hart is a metaphor on its own. His timid height of four feet ten inches is a metaphor on two accounts – one being on how ‘small’ he actually feels while others have outgrown him, and the other being linked to this sentiment on how underconfident he feels about himself. And both of these sentiments are tagged to a couple of characters in the drama – Elizabeth Weiland (Margaret Qualley) and Richard Rodgers (Andrew Scott). The dynamic between Hart and Rodgers defines the narrative here. It is learnt on how Hart was the one who had helped aide the career of Rodgers, forming one of the most successful Broadway collaborations of the time. And Rodgers remains well aware of this sentiment, wanting to collaborate with Hart again but being weary of his alcoholism and loneliness that have destroyed Hart’s career.
The dynamics between Hart and Rodgers through the night remains an interesting talking point too. It is one of those contradicting equations that are handled with sensitivity and care. And the staircase sequence beautifully highlights this sentiment wherein you spot Hart pitching a broadway idea to Rodgers who is reluctant to commit to it. It must be noted on how Rodgers wants to embrace the idea but also step away from Hart in the same breath, a contrasting sentiment that defines his equation with Hart. In other words, he could punch Hart if his mind (and past) permitted him to. On the other hand, it remains a fight for relevancy for Hart – perhaps his final strife in safeguarding his wobbly career, even while being witness to a spree on positive reviews for Rodgers and his collaboration with Oscar for Oklahoma! In his heart of hearts, Hart is aware of his short rope but then there still remains a faint hope – much like his equation with the Yale student Elizabeth who wishes to be a production designer.
Hart remains discreetly hopeful of being loved back by Elizabeth with whom he did have a brief affair previously. As a result, he pulls Elizabeth aside for an intimate talk, only for the latter to narrate an incident on how she was once dumped by a boy, and that she still has feelings for him. Hart remains a silent spectator in her story and her life, and when the latter confesses his feelings for her, she bluntly replies on how much she loves him but ‘not in That way’ (typical). She also reveals on how she perceives Hart to be partly ‘in the closet’, only to later befriend Rodgers in front of him. It has got to be the most heartbreaking sequence that I have witnessed on celluloid lately. And it is also a reminder on the shelf life of an artist wherein folks like Elizabeth would be willing to have an affair in Hart’s prime, but sidelining him completely when he is out of favour. Oh the frailty of an artist is a thing to reckon, in what makes this a bitter love letter to stardom – resulting in one of the most heartbreaking finales of recent times.
Dialogues, Music & Direction
The entire narrative is designed to be conversational, and the chatty nature of the drama may invariably make it a niche here. I for one took a while to warm up to this structure, while slowly allowing the personality of the protagonist to grow on me. There are bouts of dry humour incorporated in a barrage of conversations that brew over a single night, and it must be said that there is a rhythm to the lines that adds texture to the drama. The BGM by Graham Reynolds is regal but deftly highlights the psyche of the protagonist through its subtle notes without overpowering the brewing conversations on show. The cinematography by Shane F Kelly comprises of frames that keeps following the protagonist around while always maintaining an emotional thread that overpowers the limitations of the setting. In fact, the setting itself is claustrophic and glittery at the same time depending on which side you choose to be on. The editing pattern by Sandra Adair doesn’t incorporate any jump cuts or flashbacks while sticking to the conversations brewing over the night. This has to be the vintage version of Director Richard Linklater given his fetish to construct conversational dramas in (partial) real time. There are something about conversations that are intimate in his filmography, while providing a peeping window in the psyche of the protagonist(s). And here too, it allows for a rush of emotions to set in, in what has got to be one of the many heartbreaking dramas that I have watched recently. The direction is immaculate here.
Performances
The performances are incredible by the members of the cast. It is interesting on the trio of Bobby Cannavale as Eddie, Jonah Lees as Morty and Patrick Kennedy as E.B White can be clubbed together, given how each of these characters feels unseen while fighting a silent battle of irrelevancy. And each of them have their moments to shine. Simon Delaney as Oscar Hammerstein II and Cillian Sullivan as Stephen Sondheim act as timely cynics for Hart – one directly and the other indirectly, and both leave a lasting impact with their performances. Andrew Scott as Richard Rodgers delivers a graceful performance with the right amount of panache while highlighting the conflict of his character accurately. Margaret Qualley as Elizabeth Weiland is sincere and earnest while deftly tapping into the grey area of her character.
But the soul of the drama remains Ethan Hawke who is brilliant as Lorenz Hart. There is a rhythm that he maintains through his character, being chatty on the outside but woefully heartbroken from within. This duality reflects in his mannerisms and expressions too – bringing in a range of emotions that beautifully embraces his character. His dry sense of humour often cuts through his sadness, making him such a pain-staking character to witness – wherein you can empathize with him while being emotionally connected with his character. This has got to be one of the finest performances that I have seen recently on celluloid.
Conclusion
Blue Moon is a heartbreaking account of the frailty of a writer on the verge of irrelevancy in a drama that is a bitter love letter to stardom, making it one of the most heartbreaking watches of recent times. As the lyrics in the classic Hindi film Pyaasa (1957) go – ‘Yeh Duniya Mil Bhi Jaaye Toh Kya Hai’. Highly Recommended!