Richard Linklater’s Blue Moon is an elegy disguised as a conversation. Set over a single evening in 1943, the film imagines one long, whisky-soaked night in the life of lyricist Lorenz Hart (Ethan Hawke), the once-celebrated half of the songwriting duo Rodgers & Hart. While the musical Oklahoma!—Rodgers’s first collaboration with Oscar Hammerstein II—opens to thunderous applause across town, Hart sits at a bar wrestling with the loss of relevance, friendship, and self-worth. The title, borrowed from his most famous song, doubles as a metaphor: a reminder that brilliance sometimes burns out before anyone notices it’s gone. The entire film unfolds inside a mid-century Manhattan watering hole, where Broadway producers, chorus girls, and newspapermen drift in and out as Hart drinks, jokes, rants, and occasionally charms them. Robert Kaplow’s screenplay, adapted from his stage play, refuses conventional biopic structure. There are no flashbacks, montage sequences, or swelling musical cu...