Sydney’s 2025 Film Festival showcased the epic biographical musical film Blue Moon, where Ethan Hawke transforms into the enigmatic lyricist Lorenz Hart. Directed by Richard Linklater, Blue Moon serves as an intimate chamber piece that delves deep into Hart’s tumultuous life, deftly blending tragicomedy and poignant storytelling. 

Robert Kaplow’s skilfully written comedic dialogue softens the audience to Hart’s witty affront. The theatre alights with laughter as the witty repartee between Hart and bartender Eddie unfolds. With its New York-style bluntness balancing crude humour, Kaplow manages to perfectly encapsulate Hart’s depravity while also illuminating his sharp, clever wit and charismatic cheek, almost tipping towards a childlike eagerness to perform. However, at times, these attempts result in lengthy, dense monologues that can feel overwhelming, dragging the audience into a mind-numbing trance. While Kaplow’s intention may have been to showcase Hart’s wit and charm, the pacing falters, detracting from the emotional weight of Hart’s plight. 

Set against the backdrop of mid-20th-century New York City, the film captures Hart’s descent into despair, particularly following his heartbreaking severance from his longtime collaborator, Richard Rodgers, on the eve of Oklahoma!’s triumphant debut. The stark contrast between Rodgers’ soaring success and Hart’s desperate yearning for recognition catalyses the film’s exploration of artistic isolation. As Hart grapples with his creative stagnation, Linklater deftly unveils the psychological torment that plagues the lyricist, drawing the audience into his tumultuous emotional landscape. 

The film artfully depicts Hart’s desire to perform and be seen, while simultaneously illuminating how he utilises his craft as a means of coping with his profound internal struggles. In this tragicomic narrative, Hart’s relentless pursuit of success is portrayed as both a noble aspiration and a destructive obsession. This fervent quest ultimately leaves his soul undernourished amidst a sea of empty accolades that morph into obituaries. The tragic irony of his achievements serves as a poignant foreshadowing of his eventual passing, encapsulating the profound emptiness that can accompany a life devoted to external validation. 

Thus, what was at first glimpse endearing crumbles to naked delusion as a means of coping with his deep unrest, as despite his best efforts to escape himself, Elizabeth Weiland’s departure with Rodgers leaves the piteous, tormented artist alone. 

In Linklater and Kaplow’s telling, the tragedy of Lorenz Hart lies in his ability to convey love and the feeling of being loved through words, despite the reality that he may never fully love or be loved in return. 

Margaret Qualley’s portrayal of Elizabeth Weiland is nothing short of exceptional. She embodies the role with grace and nuance, capturing a multipronged, shameless manipulation of allure to ascend the ranks of success. In the Cold War era, Qualley embodies the sultry hunger of Weiland to capitalise off the male gaze. As always, we are graced with her impeccable performance, drawing the audience into the emotional core of the narrative.

Blue Moon serves as a poignant reminder of the perils that accompany greatness, deftly encapsulating the moral that a passion for success can often overshadow one’s true self. As the film unfolds, it becomes a powerful testament to the loneliness that can accompany artistic brilliance, leaving audiences both moved and contemplative. 

I was ultimately charmed by this film; the production design in Sardi’s Restaurant transports the audience to a bygone era. Paired with the piano playing throughout, adding the perfect touch to the beautiful unfolding of dialogue, Blue Moon is a heartwarming film to watch with friends and family, urging you to reach out and give them the hug Hart deserved.  

Amelia Akonnah is a second-year student studying a dual degree in Media and Social Sciences at UNSW, majoring in Politics and International Relations and Journalism with a passion for writing and film.