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Parting ways from the more famous collaborator in a entertainment double act is a hazardous affair. Larry David did it. The same for Andrew Ridgeley. Currently, this humorous and deeply sorrowful small-scale drama from screenwriter the writer Robert Kaplow and helmer Richard Linklater recounts the nearly intolerable tale of Broadway lyricist the lyricist Lorenz Hart right after his separation from composer Richard Rodgers. He is played with flamboyant genius, an dreadful hairpiece and simulated diminutiveness by Ethan Hawke, who is frequently technologically minimized in height – but is also sometimes shot placed in an unseen pit to gaze upward sadly at taller characters, confronting Hart’s vertical challenge as José Ferrer once played the petite artist Toulouse-Lautrec.

Complex Character and Motifs

Hawke achieves large, cynical chuckles with Hart's humorous takes on the hidden gayness of the film Casablanca and the cheesily upbeat musical he recently attended, with all the rope-spinning ranch hands; he sarcastically dubs it Okla-homo. The orientation of Lorenz Hart is complicated: this movie skillfully juxtaposes his queer identity with the straight persona invented for him in the 1948 musical the musical Words and Music (with Mickey Rooney playing Hart); it intelligently infers a kind of bisexual tendency from the lyricist's writings to his protege: young Yale student and budding theater artist Weiland, acted in this movie with carefree youthful femininity by actress Margaret Qualley.

As part of the famous musical theater songwriting team with musician Richard Rodgers, Hart was in charge of matchless numbers like the classic The Lady Is a Tramp, the tune Manhattan, the beloved My Funny Valentine and of course the song Blue Moon. But exasperated with Hart’s alcoholism, inconsistency and gloomy fits, Rodgers ended their partnership and joined forces with lyricist Oscar Hammerstein II to write Oklahoma! and then a multitude of theater and film hits.

Sentimental Layers

The film envisions the deeply depressed Lorenz Hart in the musical Oklahoma!'s opening night Manhattan spectators in the year 1943, gazing with covetous misery as the show proceeds, hating its bland sentimentality, abhorring the exclamation mark at the conclusion of the name, but soul-crushingly cognizant of how lethally effective it is. He knows a hit when he views it – and perceives himself sinking into defeat.

Prior to the interval, Lorenz Hart sadly slips away and makes his way to the tavern at Sardi’s where the balance of the picture takes place, and anticipates the (unavoidably) successful Oklahoma! cast to appear for their post-show celebration. He realizes it is his performance responsibility to congratulate Richard Rodgers, to act as if things are fine. With polished control, actor Andrew Scott acts as Richard Rodgers, clearly embarrassed at what each understands is the lyricist's shame; he gives a pacifier to his ego in the appearance of a short-term gig writing new numbers for their current production the show A Connecticut Yankee, which only makes it worse.

• The performer Bobby Cannavale portrays the barkeeper who in traditional style listens sympathetically to the character's soliloquies of bitter despondency
• The thespian Patrick Kennedy plays writer EB White, to whom Hart inadvertently provides the idea for his children’s book the book Stuart Little
• Margaret Qualley acts as Weiland, the unattainably beautiful Yale attendee with whom the movie conceives Lorenz Hart to be complexly and self-destructively in affection

Lorenz Hart has already been jilted by Richard Rodgers. Certainly the cosmos couldn't be that harsh as to cause him to be spurned by Weiland as well? But Margaret Qualley ruthlessly portrays a youthful female who wishes Lorenz Hart to be the chuckling, non-sexual confidant to whom she can disclose her adventures with young men – as well of course the showbiz connection who can promote her occupation.

Standout Roles

Hawke shows that Lorenz Hart somewhat derives voyeuristic pleasure in learning of these boys but he is also authentically, mournfully enamored with Weiland and the movie tells us about a factor infrequently explored in pictures about the realm of stage musicals or the films: the awful convergence between career and love defeat. Nevertheless at some level, Lorenz Hart is boldly cognizant that what he has achieved will survive. It's a magnificent acting job from Ethan Hawke. This may turn into a stage musical – but who will write the tunes?

The movie Blue Moon premiered at the London film festival; it is out on 17 October in the USA, November 14 in the Britain and on 29 January in Australia.