throughout its 130 years of life, cinema has experienced several turning points, from the first public screening of a film by the Lumière brothers in 1895, thru the insertion, at the beginning of the 20th century, of narrative montage in films to convert the mere representation of reality into fictional and staged stories through the progressive construction of the base cinematographic language. Added to this is the revolution brought about by the transition from silent films to sound films at the end of the 1920s,among others.
Each of these changes was characterized by the uncertainty of the path to be discovered. Sometimes the description of why something has transformed an art is obvious. In other cases, however, it is the passage of time that explains, through related past or social facts, the paradigm shift by which the public responds to some stimuli and stops responding to others. These artistic revolutions also leave corpses in their wake. Some of the artists who were protagonists of a luminous stage in an art became obsolete in the face of its progress.
“Your time is up, but you will spend eternity among angels and ghosts.” This phrase from Jean Smart to the character of Jack Conrad in *Babylon* (Damien Chazelle, 2022), which verbalizes the passage from one stage to another – from silent to sound films – to which the character played by Brad Pitt is not able to adapt, may well be used to reference Richard Linklater’s new film, *Blue Moon*. In it, the director of *Before Dawn* (1995) or the reclaimable *Apollo 10 1/2: A Space Childhood* (2022) explores the crucial moment in which the composer and lyricist of musical theater and the film’s song of the same name, Lorenz “Larry” Hart, feels displaced from the glory and media spotlight after the success of his musical premiere *Oklahoma!*, directed by his former partner richard rodgers, which marked a revolution in the way musical Theater was understood and performed on Broadway.
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richard Linklater and his ‘Nouvelle Vague’ conquer the red carpet at the San Sebastian Festival.
Linklater tells the story of Lorenz Hart from a very specific point in time and, accept for the prologue, in a single location, thus moving away from the hackneyed biopic of artists on an emotional roller coaster that travels through the 20th century. On March 31, 1943, seven months before his death, Lorenz Hart attended the Broadway premiere of *Oklahoma!*, leaving in the middle of the show to the Sardi’s restaurant in New York, a meeting point for actors, composers and prominent members of the world of entertainment. There, he wanders between nostalgia and melancholy, professional and emotional, while remembering some moments of his career.
Table of Contents
Richard Linklater’s chamber work, “Okaa Oklahoma!” masterfully utilizes space to delineate the social status of its characters. The setting isn’t merely a backdrop; it’s a crucial element in understanding the power dynamics and aspirations within the narrative.
The Bar Area: A Liminal Space
The bar area serves as a distinct zone, primarily occupied by Hart’s character, the waiter, portrayed by Bobby Cannavale (Unstoppable: The Story of Anthony roble). He’s a figure rooted in time, a silent observer who has witnessed the triumphs and failures of countless intellectuals. In the background, we see the writer E.B. White grappling with a creative crisis, and the restaurant’s pianist, reminiscent of Sam from Casablanca, provides a melancholic soundtrack. This space represents a kind of waiting room – a place for those on the periphery of success.
Crossing the Line: Qualley’s Character and Aspirations
The young woman, played by Qualley, initially appears in the bar area, signifying her current position outside the inner circle of Okaa Oklahoma!‘s success. Though, she is the sole character who transgresses the spatial boundary, venturing into the celebratory party honoring Richard Rodgers, played by Andrew Scott (Unkown). This act of crossing the line is meaningful, representing her ambition and desire to break into the world of established artists.
Power Dynamics and Attempts at Reconciliation
larry Hart’s former partner attempts to rekindle their relationship and collaboration, but Linklater consistently employs spatial cues to highlight the disparity in success.The physical separation between characters underscores the emotional and professional distance that has grown between them.
key takeaways
- Space as Character: The physical setting isn’t just a location; it actively communicates social standing and ambition.
- The Bar as Liminality: the bar area represents a space for those who are observing success from the outside.
- Crossing Boundaries: A character’s movement across spatial lines signifies their aspirations and attempts to navigate social hierarchies.
- Spatial Reinforcement of Narrative: Linklater uses spatial arrangements to emphasize power dynamics and emotional distance.
“Okaa Oklahoma!” demonstrates a complex understanding of how mise-en-scène can enhance narrative depth. By carefully controlling the use of space, Linklater creates a visually compelling and emotionally resonant exploration of ambition, success, and the complexities of artistic collaboration. Future analysis could explore how linklater’s use of color and lighting further contributes to the film’s thematic concerns.