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Parting ways from the more prominent partner in a entertainment partnership is a hazardous affair. Comedian Larry David experienced it. The same for Musician Andrew Ridgeley. Currently, this witty and profoundly melancholic chamber piece from screenwriter Robert Kaplow and helmer Richard Linklater narrates the nearly intolerable tale of Broadway lyricist the lyricist Lorenz Hart right after his separation from composer Richard Rodgers. He is played with campy brilliance, an notable toupee and simulated diminutiveness by actor Ethan Hawke, who is regularly digitally shrunk in size – but is also sometimes recorded standing in an off-camera hole to stare up wistfully at more statuesque figures, facing Hart’s vertical challenge as José Ferrer in the past acted the petite Toulouse-Lautrec.

Multifaceted Role and Themes

Hawke achieves big, world-weary laughs with Hart's humorous takes on the subtle queer themes of the movie Casablanca and the overly optimistic theater production he just watched, with all the lariat-wielding cowhands; he bitingly labels it Okla-homo. The sexuality of Hart is complex: this movie skillfully juxtaposes his homosexuality with the non-queer character created for him in the 1948 musical the musical Words and Music (with Mickey Rooney portraying Lorenz Hart); it cleverly extrapolates a kind of dual attraction from the lyricist's writings to his protégée: college student at Yale and budding theater artist Weiland, acted in this movie with uninhibited maidenly charm by the performer Margaret Qualley.

As a component of the legendary New York theater songwriting team with the composer Rodgers, Hart was responsible for unparalleled tunes like The Lady Is a Tramp, the number Manhattan, the beloved My Funny Valentine and of course the titular Blue Moon. But exasperated with Hart’s alcoholism, undependability and depressive outbursts, Richard Rodgers ended their partnership and partnered with lyricist Oscar Hammerstein II to create the musical Oklahoma! and then a series of stage and screen smashes.

Sentimental Layers

The movie imagines the deeply depressed Hart in the show Oklahoma!'s first-night New York audience in 1943, observing with covetous misery as the performance continues, hating its mild sappiness, abhorring the exclamation point at the conclusion of the name, but heartsinkingly aware of how lethally effective it is. He knows a smash when he sees one – and senses himself falling into defeat.

Before the interval, Lorenz Hart miserably ducks out and makes his way to the tavern at Sardi’s where the balance of the picture unfolds, and waits for the (certainly) victorious Oklahoma! cast to arrive for their after-party. He knows it is his entertainment obligation to congratulate Rodgers, to pretend everything is all right. With polished control, Andrew Scott plays Richard Rodgers, obviously uncomfortable at what both are aware is the lyricist's shame; he offers a sop to his pride in the appearance of a short-term gig creating additional tunes for their existing show the musical A Connecticut Yankee, which only makes it worse.

• Bobby Cannavale portrays the barkeeper who in standard fashion hears compassionately to Hart's monologues of bitter despondency
• The thespian Patrick Kennedy portrays writer EB White, to whom Lorenz Hart accidentally gives the idea for his children’s book the book Stuart Little
• Margaret Qualley plays Weiland, the unattainably beautiful Yale student with whom the picture conceives Lorenz Hart to be complicatedly and self-harmingly in love

Hart has already been jilted by Rodgers. Certainly the cosmos wouldn't be that brutal as to have him dumped by Elizabeth Weiland as well? But Qualley ruthlessly portrays a young woman who desires Lorenz Hart to be the laughing, platonic friend to whom she can confide her adventures with guys – as well of course the Broadway power broker who can promote her occupation.

Standout Roles

Hawke shows that Hart somewhat derives observational satisfaction in hearing about these boys but he is also truly, sadly infatuated with Elizabeth Weiland and the movie tells us about a factor seldom addressed in films about the realm of stage musicals or the movies: the awful convergence between occupational and affectionate loss. 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 stage musical – but who shall compose the songs?

The film Blue Moon premiered at the London film festival; it is available on October 17 in the USA, 14 November in the Britain and on the 29th of January in the Australian continent.