Ethan Hawke and Richard Linklater have forged one of the most significant actor-director collaborations in film history, spanning over three decades and numerous acclaimed projects. Their partnership began in the early 1990s when Linklater saw Hawke perform in a play alongside their mutual friend, Anthony Rapp. Together, they have brought the beloved “Before” trilogy to life, explored the passage of time in the groundbreaking film “Boyhood,” and taken bold artistic risks in indie gems like “Tape” and “Waking Life.”
Their latest endeavor marks their ninth collaboration, titled “Blue Moon,” which has been over a dozen years in the making. Scheduled to premiere in theaters this Friday, the film delves into the end of a creative partnership, focusing on 20th-century lyricist Lorenz “Larry” Hart, portrayed by Hawke. The narrative unfolds during the opening night party for the hit musical “Oklahoma!” by Hart’s former partner, composer Richard Rodgers, played by Andrew Scott, and his new collaborator, Oscar Hammerstein II (Simon Delaney), set against the backdrop of New York City’s iconic Sardi’s restaurant.
The film spans from 1919 to Hart’s death in 1943, during which time the partnership between Rodgers and Hart yielded numerous musical classics such as “My Funny Valentine,” “The Lady Is a Tramp,” and “Isn’t It Romantic?” Hawke’s performance has been lauded as a career highlight that may earn him a third Oscar nomination, as he embodies the complexities of Hart—a brilliant yet troubled songwriter grappling with alcoholism.
Linklater described the essence of the film, emphasizing the heartbreaking nature of an artist feeling left behind as the world and their creative partner move on. “There’s a lot of movies about romantic breakups… but not enough films about artistic breakups, which are so complex,” he noted. The film poignantly captures Hart’s battle with his self-destructive tendencies and the emotional toll of losing both his partner and his place in the evolving musical landscape represented by “Oklahoma!”.
Hawke elaborated on the intricacies of artistic relationships, stating that Hart’s bond with Rodgers transcended conventional attachments, forming a core aspect of his identity. With their collaboration yielding over 1,000 songs, losing that partnership meant losing a significant part of oneself.
Linklater first reached out to Hawke about the screenplay two dozen years ago but felt he was initially too young for the role. Over the years, they frequently revisited the script, allowing it to evolve along with their understanding of Hart’s complex character. When it finally came time for Hawke to inhabit Hart, he underwent a transformative process to authentically portray the lyricist’s final years—losing his vanity and adopting a physically altered appearance and new mannerisms.
The narrative also addresses the challenges of being a gay artist in the 1940s, a topic that Linklater and writer Robert Kaplow explore by including a young woman named Elizabeth, played by Margaret Qualley, who possesses letters from Hart. This subplot sheds light on Hart’s struggles with his sexuality and societal expectations during a tumultuous era.
Reflecting on the irony of creating a story about artistic separation while their own partnership thrives, Hawke noted the evolutionary nature of their collaboration. Both he and Linklater believe that their extensive history has fostered a consistent dynamic driven by their shared passion for storytelling.
As their collaboration continues to flourish, “Blue Moon” serves as a poignant reminder of the emotional stakes tied to artistic relationships and the inflection points that can lead to both creative fulfillment and personal loss. Hawke’s and Linklater’s work reflects their journey through artistic evolution while also acknowledging the inevitable changes that life brings. Their story is ultimately one of resilience and the enduring power of creative companionship.