Ethan Hawke, Andrew Scott, and Bobby Cannavale attended the premiere of Richard Linklater’s new drama “Blue Moon” at the 63rd New York Film Festival on Monday.
The film is part of this year’s Spotlight collection for the festival, which showcases “significant” and “anticipated” features. It also marks Linklater’s sixth time at NYFF.
Occurring on March 31, 1943, on the opening night of Richard Rodgers and Oscar Hammerstein’s musical “Oklahoma!,” the drama focuses on lyricist Lorenz Hart (Hawke) at a moment where his professional relationship with Rodgers (Scott) — and with Broadway as a whole — is falling apart. “Blue Moon” was written by novelist Robert Kaplow, who said he first got the idea for the film when he was 20 in an interview with The Knockturnal.
“I listened to an audio tape of Rodgers, and he’s talking about leaving Hart, and his tone was so cold, so business-like, and even a little callous,” Kaplow said. “I actually got a chill listening to it.”
Hart and Rodgers boasted a 20-year partnership, responsible for stage musicals like “On Your Toes” and songs like “Isn’t It Romantic?” that were written for films. Their final collaboration was on the musical “A Connecticut Yankee” in 1943, and the two parted ways due to a dysfunctional partnership. “Blue Moon” explores Hart’s alcoholism, which not only contributed to this split but also led him to die from pneumonia eight months later.
“It was an interesting relationship to explore,” said Kaplow. “These two guys love each other and are completely exasperated by each other at the same time.”
Scott plays opposite Hawke as Richard Rodgers, who at this point is on the precipice of a career-defining show and immense prestige in the theater world. For Scott, tackling this Broadway icon meant exploring what would’ve been the uncertainties surrounding the reception of his art.
“I like the idea of the artist going, ‘I wonder, will people like it?’” Scott said in an interview with The Knockturnal. “You see that artists don’t escape nerves.”
In line with Linklater’s filmography, “Blue Moon” is told through dialogue, this time almost exclusively in the iconic Sardi’s restaurant in the heart of New York City’s Theater District. Hawke told The Knockturnal about stepping into Hart’s mindframe at this point in his life, sitting at a bar and struggling to process the regression of his career.
“You’re experiencing somebody in 90 minutes of real time who’s about to die of heartbreak,” Hawke said. “The stakes couldn’t be higher for him. It’s like he’s present at a giant multi-car crash in the middle of a highway — on Broadway.”
Cannavale’s character, Eddie, is a bartender at Sardi’s who’s been privy to Hart’s emotional turmoil and isn’t supposed to serve him drinks. Cannavale told The Knockturnal that his years of bartending experience prepared him for portraying Eddie, which he said requires being “sociable.”
“I really did tap into my old bartender vibes, and I easily found them,” Cannavale said.
“Blue Moon” is one of two Linklater films selected for this year’s NYFF — he’ll also be showcasing “Nouvelle Vague,” a reimagination of the creation of Jean-Luc Godard’s “Breathless.” Linklater spoke to The Knockturnal about finding the “unique angle” on moments in history, like in “Blue Moon,” and infusing creativity in biographical stories.
“Films can really reimagine and recreate moments in history in a powerful way, unlike other artistic mediums,” Linklater said.
“Blue Moon” will screen at the Brooklyn Academy of Music on Oct. 5.
(Feature photo courtesy of Film at Lincoln Center)