Blue Moon is not a traditional film—it is a stage play filmed.

I have immense respect for Richard Linklater, and this is not a critique of his talent. That said, it’s important to note that Blue Moon is not a traditional film—it is a stage play filmed for the screen. This distinction shapes the entire experience: the work retains the energy, pacing, and intimacy of theater rather than the cinematic language of a movie.

The cast is exceptional. Ethan Hawke as Lorenz Hart delivers a nuanced and heartfelt performance, capturing both the brilliance and the vulnerability of the legendary lyricist. Margaret Qualley as Elizabeth Weiland is grounded and compelling, providing a strong emotional center. Bobby Cannavale brings charisma and vitality as Eddie, while Andrew Scott’s portrayal of Richard Rodgers is precise and engaging. The supporting cast—Jonah Lees, Simon Delaney, Cillian Sullivan, Patrick Kennedy, John Doran, and Anne Brogan—each contribute memorable, layered performances that enrich the ensemble.

The film’s theatrical roots are evident in its staging, timing, and the way the actors engage with one another and the audience. It’s an experience that thrives on performance and dialogue rather than cinematic techniques like dynamic camera movement or visual storytelling. Watching Blue Moon is more like attending a live play than viewing a conventional film, and it should be appreciated on those terms.

In conclusion, Blue Moon succeeds as a filmed play, offering an intimate and engaging portrayal of historical figures and musical legends. While it may not satisfy expectations for a traditional cinematic experience, it stands as a testament to the power of performance and storytelling in theater, beautifully captured by Linklater’s careful direction.