Ethan Hawke and Richard Linklater share one of the most celebrated actor-director collaborations in modern cinema. Their creative journey began in the early 1990s in New York City, when Linklater saw Hawke in a play alongside mutual friend Anthony Rapp. Since then, they have crafted cinematic classics together, including the beloved Before trilogy, the groundbreaking decade-spanning Boyhood, and experimental indie films like Tape and Waking Life.
Now, for their ninth collaboration, Hawke and Linklater turn their focus to a different kind of story: the end of an artistic partnership. Their latest film, Blue Moon, directed by Linklater and written by Robert Kaplow, opens in theaters this Friday. The film centers on 20th-century lyricist Lorenz “Larry” Hart (Hawke) as he crashes the opening night of Oklahoma!, the hit musical by his former collaborator Richard Rodgers (Andrew Scott) and Rodgers’ new partner, Oscar Hammerstein II (Simon Delaney), at the iconic Sardi’s restaurant in New York City.
Rodgers and Hart: A Legendary Musical Partnership
From 1919 until Hart’s death from pneumonia in 1943, Rodgers and Hart combined their talents to produce some of the most enduring musical hits of the 20th century. Their collaborations include classics such as My Funny Valentine, The Lady Is a Tramp, Isn’t It Romantic?, My Heart Stood Still, Manhattan, Bewitched, and Blue Moon.
Hawke delivers a career-defining performance, capturing Hart’s brilliance alongside his personal struggles as an alcoholic prone to self-destructive behavior. His nuanced portrayal could easily earn him his third Academy Award acting nomination.
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Examining the Complexity of an Artistic Breakup
Linklater explained to NBC News that Blue Moon was envisioned as “a little howl into the night of an artist being left behind.” Unlike romantic breakups, artistic separations are rarely explored on film, despite their emotional complexity. “It’s really about Larry’s life and his addictions, his problems. He’s made himself hard to work with, and it’s just heartbreaking to see that relationship coming to an end,” Linklater said.
Hawke emphasized the intimacy of artistic partnerships, describing Hart’s relationship with Rodgers as central to his identity. Losing Rodgers, he noted, meant losing a core part of himself, both professionally and personally.
Preparing for a Transformative Role
Linklater first shared Kaplow’s screenplay with Hawke over a decade ago but felt the actor was too young and, jokingly, “too good-looking” to play Hart’s final years. Over the years, they revisited the script, refining dialogue to gradually reveal Hart’s personal and professional struggles.
When the time came, Hawke underwent a physical and psychological transformation to inhabit Hart’s character. At nearly six feet tall, he was made to appear a foot shorter, given a balding combover, and taught new diction and mannerisms. Hawke explained that these changes reflected Hart’s sense of diminishment and his need to be noticed in a world where he often felt invisible.
Exploring Hart’s Personal Life
Hart’s sexuality was largely concealed during his lifetime, a reality Kaplow chose to dramatize in Blue Moon. Using 11 letters Hart received from a young Yale student named Elizabeth, the screenplay portrays her as a significant figure in Hart’s life, despite their age difference. Margaret Qualley plays Elizabeth in the film.
Linklater described the depiction as both “touching and very complex,” highlighting the challenges Hart faced living as a gay man in the 1940s, when such identities were criminalized. Even his collaborators, including Rodgers, never publicly acknowledged his sexuality.
Hawke on Hart’s Emotional Struggles
Hawke noted that Hart’s inability to cope with losing Rodgers drove his distractions, from alcohol to romantic entanglements. Elizabeth represented a potential path to a “normal” life, yet Hart’s unresolved personal issues prevented him from fulfilling that role. Hawke explained that these elements illustrate Hart’s inner conflict, making his story deeply human and relatable.
A Reflection on Hawke and Linklater’s Partnership
While Blue Moon tells a story of artistic loss, Hawke and Linklater’s own collaboration has thrived for over 30 years. Hawke reflected on how time, life changes, and evolving perspectives have shaped their relationship, yet consistency remains a hallmark of their creative partnership.
Linklater added that their simplicity—focusing on the work itself—has allowed them to sustain their collaboration. The irony of telling a story about a breakup while maintaining a successful partnership adds a poignant layer to Blue Moon.
Frequently Asked Questions
What is Blue Moon about?
Blue Moon follows lyricist Larry Hart, played by Ethan Hawke, as he navigates the end of his partnership with composer Richard Rodgers.
Who stars in Blue Moon?
Ethan Hawke stars as Larry Hart, with Andrew Scott as Richard Rodgers, Simon Delaney as Oscar Hammerstein II, and Margaret Qualley as Elizabeth.
Who directed Blue Moon?
The film is directed by acclaimed filmmaker Richard Linklater, known for Before Sunrise, Boyhood, and Waking Life.
When is Blue Moon released in theaters?
Blue Moon premieres in theaters on Friday, [insert exact date based on current year].
Is Blue Moon based on a true story?
Yes, the film is inspired by the real-life partnership between lyricist Larry Hart and composer Richard Rodgers.
What makes Larry Hart’s story unique?
Hart’s story highlights both his musical genius and personal struggles, including his concealed sexuality and battles with addiction.
Have Ethan Hawke and Richard Linklater worked together before?
Yes, Blue Moon marks their ninth collaboration, following projects like the Before trilogy, Boyhood, Tape, and Waking Life.
Conclusion
Blue Moon is a poignant exploration of creativity, ambition, and the fragility of artistic partnerships. Through Ethan Hawke’s deeply human portrayal of Larry Hart and Richard Linklater’s sensitive direction, the film captures the brilliance and vulnerabilities behind one of the 20th century’s most iconic songwriting duos. It reminds audiences that artistic relationships, like life itself, are filled with triumphs, struggles, and inevitable endings.
