‘I’ ON CULTURE
What happens when a once successful person suddenly realizes that the best of things in his life are over? That’s the basic theme of a painfully intimate drama about a tragic evening in the life of lyricist Lorenz Hart called Blue Moon. That is the title of one of his most famous songs, but he was responsible for many others. Songs like My Funny Valentine; The Lady is a Tramp; Where or When; Bewitched, Bothered and Bewildered; and I’ll Take Manhattan. And many, many more.
But Hart (Ethan Hawke) was not a happy man. He was a closeted gay man at a time when that was illegal. But what he really wanted was love and respect, and he chased anyone who could give him that, without success. So, he drank a lot. That ruined his partnership with composer Richard Rodgers (Andrew Scott). They had a two-decade successful relationship that foundered because Rodgers was a methodical man who expected to start work every morning at 9 a.m., and Hart was available only when he was sober. But together, they were called America’s Gilbert and Sullivan.
The movie takes place on one night in 1943, pretty much in one place, Broadway’s Sardi’s restaurant, the night Rodgers and his new composing partner, Oscar Hammerstein II, open their new musical Oklahoma! Hart knows it is going to be a huge hit, and it will essentially end his old partnership. Hart will only contribute a few new song lyrics for a revival of one of their old shows, while Rodgers will move on to the most successful partnership in American musical theater history.
Hart sees the new show and knows that he could never produce anything like it, and that his partnership with Rodgers is doomed. So, he leaves the play and goes to the bar, where he talks to a friendly bartender (Bobby Cannavale) and a piano playing GI on leave (Jonah Lees).
There are a few brilliant scenes with some of the best writing of the year. The first is a conversation between Rodgers and Hart about working together again. They are clearly incompatible, but they obviously respect and care for each other, friends for two decades. But one is falling to pieces, and the other ready to go on to further glory and unprecedented success.
In the second scene, Hart talks with author E.B. White (Patrick Kennedy), famous for Charlotte’s Web and Stuart Little. They talk about how language can be both precise and beautiful. By itself, this scene could be a tutor for writers. Kudos to writer Robert Kaplow.
Director Richard Linklater is interested in genius and creativity, and focuses on that in this tragic tale. The acting is exceptional. Hawke is nothing short of brilliant. With movie magic creating the image of being only five feet tall and a bad comb-over, he is not simply an actor. He actually seems to inhabit the character. Hart is wildly complex. He tosses out witty lines, seems like a bit of a bully, yet pathetic. Hawke should probably get Oscar recognition for his performance.
The other actors provide strong support. Cannavale as the bartender is the classic ideal listener. He can joke, but he is clearly someone who really likes Hart. Kennedy intelligently plays White as very soft-spoken, not only a foil, but a real contrast with the often bombastic Hart. Margaret Qualley was good in a complex role. Historically, there were some women Hart did idolize, and it is said there was one at the end. But Kaplow’s script pushes Qualley into making some fascinating choices.
The movie is a bit too long. Linklater spends a bit too much time introducing theater people who later become famous. It’s interesting, but they play no dramatic role. This is a painful movie. Watching an interesting, brilliant person fall apart is never pretty. Seeing his attempts at self-aggrandizement and bullying mixed with internal loathing hurts. But Hawke and Linklater make it worthwhile.
Should you see it? If you are a fan of his music, this is interesting. But, on the other hand, in a few weeks, it will probably be on pay-per-view for less money.
