Few filmmakers have as varied a CV asRichard Linklaters.
Before Rodgers and Hammerstein, there was Rodgers and Hart.
Seven months later, the drink will get him.
Margaret Qualley and Ethan Hawke in ‘Blue Moon’Sabrina Lantos / Sony Pictures Classics
In fact, its in the process of getting him right in front of us.
Hart despises him and his blundering height, despises the hokey sentimentality ofOklahoma!and is swimming in bitterness.
His wit hasnt deserted him, however, which gives his hatred a poisonous potency.
They still seem to love him, but he has a lot of songs in the bank.
Her elaborately embroidered accounts of her sexual debacles excite him, even as he tries to court her.
In a bravura theatrical performance, Hawke makes the genius truly pathetic.
Linklater treats that space as a stage, moving around it as Hart moves.
This kind of broad social analysis is absolutely in Linklaters wheelhouse; you feel him rising to the bait.
The world outside is at war.
Knuckles the pianist plays in uniform; he is waiting for his deployment.
But thats what people want, counters Rodgers.
And this is a business.
Hes nailed it: The 1950s are around the corner.
