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Separating from the more famous partner in a entertainment duo is a risky endeavor. Larry David did it. So did Andrew Ridgeley. Presently, this clever and deeply sorrowful chamber piece from screenwriter the writer Robert Kaplow and director Richard Linklater narrates the almost agonizing story of musical theater lyricist Lorenz Hart right after his breakup from Richard Rodgers. He is played with flamboyant genius, an dreadful hairpiece and simulated diminutiveness by actor Ethan Hawke, who is frequently technologically minimized in height – but is also at times shot positioned in an unseen pit to stare up wistfully at taller characters, confronting Hart’s vertical challenge as actor José Ferrer previously portrayed the small-statured artist Toulouse-Lautrec.

Complex Character and Motifs

Hawke achieves large, cynical chuckles with Hart’s riffs on the subtle queer themes of the film Casablanca and the cheesily upbeat musical he’s just been to see, with all the lariat-wielding cowhands; he sarcastically dubs it Okla-homo. The sexuality of Lorenz Hart is complex: this picture effectively triangulates his homosexuality with the heterosexual image created for him in the 1948 musical the production Words and Music (with Mickey Rooney acting as Lorenz Hart); it cleverly extrapolates a kind of bisexual tendency from Hart’s letters to his young apprentice: youthful Yale attendee and aspiring set designer the character Elizabeth Weiland, acted in this movie with heedless girlishness by Margaret Qualley.

As part of the legendary Broadway composing duo with musician Richard Rodgers, Lorenz Hart was accountable for matchless numbers like the classic The Lady Is a Tramp, the number Manhattan, the standard My Funny Valentine and of course Blue Moon. But exasperated with Hart’s alcoholism, unreliability and gloomy fits, Rodgers ended their partnership and joined forces with lyricist Oscar Hammerstein II to compose Oklahoma! and then a raft of live and cinematic successes.

Sentimental Layers

The movie imagines the deeply depressed Lorenz Hart in the show Oklahoma!'s premiere NYC crowd in 1943, observing with jealous anguish as the production unfolds, loathing its mild sappiness, hating the exclamation mark at the finish of the heading, but heartsinkingly aware of how lethally effective it is. He understands a hit when he views it – and senses himself falling into unsuccessfulness.

Prior to the interval, Hart sadly slips away and goes to the tavern at Sardi’s where the balance of the picture unfolds, and waits for the (unavoidably) successful Oklahoma! troupe to appear for their post-show celebration. He knows it is his showbiz duty to congratulate Richard Rodgers, to act as if all is well. With polished control, actor Andrew Scott plays Richard Rodgers, evidently ashamed at what they both know is the lyricist's shame; he provides a consolation to his ego in the guise of a brief assignment writing new numbers for their ongoing performance the show A Connecticut Yankee, which only makes it worse.

• The performer Bobby Cannavale acts as the barman who in standard fashion hears compassionately to Hart's monologues of bitter despondency
• Patrick Kennedy plays author EB White, to whom Hart unintentionally offers the concept for his youth literature Stuart Little
• Margaret Qualley plays Elizabeth Weiland, the unattainably beautiful Ivy League pupil with whom the film imagines Lorenz Hart to be complicatedly and self-harmingly in love

Lorenz Hart has already been jilted by Richard Rodgers. Surely the world couldn't be that harsh as to have him dumped by Elizabeth Weiland as well? But Margaret Qualley mercilessly depicts a youthful female who wishes Lorenz Hart to be the laughing, platonic friend to whom she can confide her experiences with boys – as well of course the showbiz connection who can promote her occupation.

Standout Roles

Hawke reveals that Hart to a degree enjoys observational satisfaction in hearing about these boys but he is also genuinely, tragically besotted with Elizabeth Weiland and the film tells us about a factor infrequently explored in movies about the world of musical theatre or the movies: the dreadful intersection between career and love defeat. However at one stage, Hart is boldly cognizant that what he has achieved will survive. It’s a terrific performance from Hawke. This might become a theater production – but who would create the numbers?

Blue Moon screened at the London cinema festival; it is released on the 17th of October in the USA, November 14 in the UK and on 29 January in Australia.