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Breaking up from the more famous collaborator in a showbiz double act is a risky business. Larry David did it. So did Andrew Ridgeley. Now, this clever and heartbreakingly sad small-scale drama from writer the writer Robert Kaplow and filmmaker Richard Linklater narrates the almost agonizing tale of Broadway lyricist the lyricist Lorenz Hart shortly following his separation from Richard Rodgers. His role is portrayed with theatrical excellence, an dreadful hairpiece and simulated diminutiveness by Ethan Hawke, who is frequently technologically minimized in size – but is also sometimes recorded standing in an unseen pit to look up poignantly at heightened personas, addressing Hart’s vertical challenge as José Ferrer previously portrayed the small-statured Toulouse-Lautrec.

Layered Persona and Elements

Hawke achieves substantial, jaded humor with Hart's humorous takes on the subtle queer themes of the classic Casablanca and the overly optimistic theater production he’s just been to see, with all the lariat-wielding cowhands; he acidly calls it Okla-queer. The sexuality of Hart is complex: this movie skillfully juxtaposes his queer identity with the heterosexual image fabricated for him in the 1948 musical Words and Music (with actor Mickey Rooney portraying Hart); it shrewdly deduces a kind of bisexuality from Hart’s letters to his protégée: college student at Yale and budding theater artist Elizabeth Weiland, played here with heedless girlishness by the performer Margaret Qualley.

As part of the renowned Broadway composing duo with composer Rodgers, Hart was responsible for incomparable songs like The Lady Is a Tramp, the number Manhattan, the beloved My Funny Valentine and of course the titular Blue Moon. But annoyed at the lyricist's addiction, undependability and gloomy fits, Richard Rodgers ended their partnership and partnered with Oscar Hammerstein II to compose the show Oklahoma! and then a raft of live and cinematic successes.

Sentimental Layers

The film conceives the deeply depressed Lorenz Hart in the show Oklahoma!'s opening night Manhattan spectators in 1943, looking on with envious despair as the production unfolds, hating its bland sentimentality, detesting the punctuation mark at the finish of the heading, but dishearteningly conscious of how lethally effective it is. He realizes a hit when he sees one – and senses himself falling into failure.

Before the break, Hart miserably ducks out and makes his way to the bar at Sardi’s where the remainder of the movie takes place, and waits for the (certainly) victorious Oklahoma! troupe to show up for their after-party. He knows it is his entertainment obligation to praise Richard Rodgers, to pretend things are fine. With suave restraint, actor Andrew Scott portrays Richard Rodgers, evidently ashamed at what each understands is the lyricist's shame; he provides a consolation to his pride in the appearance of a temporary job composing fresh songs for their existing show the show A Connecticut Yankee, which simply intensifies the pain.

• The performer Bobby Cannavale plays the barkeeper who in traditional style hears compassionately to the character's soliloquies of vinegary despair
• Patrick Kennedy portrays author EB White, to whom Hart unintentionally offers the concept for his kids' story the book Stuart Little
• Margaret Qualley acts as Weiland, the unattainably beautiful Ivy League pupil with whom the movie envisions Hart to be intricately and masochistically in love

Hart has earlier been rejected by Rodgers. Undoubtedly the world wouldn't be that brutal as to cause him to be spurned by Weiland as well? But Margaret Qualley mercilessly depicts a girl who wants Hart to be the laughing, platonic friend to whom she can disclose her exploits with boys – as well of course the showbiz connection who can further her career.

Performance Highlights

Hawke reveals that Hart somewhat derives observational satisfaction in listening to these young men but he is also truly, sadly infatuated with Weiland and the film informs us of a factor rarely touched on in pictures about the world of musical theatre or the movies: the dreadful intersection between occupational and affectionate loss. However at a certain point, Hart is boldly cognizant that what he has achieved will endure. It’s a terrific performance from Ethan Hawke. This may turn into a live show – but who shall compose the tunes?

Blue Moon was shown at the London movie festival; it is available on 17 October in the United States, 14 November in the United Kingdom and on the 29th of January in the land down under.