Lorenz Hart was wandering in the pun, but the “Blue Moon” is not something if not the funny Valentine’s Day for the tormented songwriter (close, Jewish, alcohol addict, small) died in 1943 at the age of 48 nights of his final cooperation with composer Richard Rodgers . Six months ago, Richard Linclter’s wonderful image of Ethan Hawke starred but terriblely made the scene chewing from one foot trench on the ground. Like a pass behind the scenes for Broadway amateurs, it is one of the hell from a show for those who know, and a vougeer of beginners.
This was not a happy period in Hart’s life, and although it starts from the witch and smart-the presentation of the show-what makes it a deserved topic is the layers of insecurity and self-immigration, which its plot is very clearly excessive compensation. “I was miserable by a man I knew,” said singer Maple Mercyd.
I was almost completely restricted to one site, “Blue Moon” in Sardi’s, Midtown New York, after the opening of “OKLAHOMA!” For Hart, the attendance (without his own love) should have felt as if he was attending the wedding of a woman who was dated for twenty years, with which he was photographed at least many children. History is March 31, 1943, and there is a war, although it is cold between the former duo to write songs.
Rodgers (Andrew Scott) cut his creative partnership with Hart earlier in this decade, as he chose to cooperate with Oscar Humerstein (Simon Dylani) instead on “Oklahoma!” Which would be much larger than anything he wrote and she – if you like this kind of things. (Personally, I have always found “Oklahoma!” To be an unbearable stone width, so it is fun to see Hart envy cut it into size.)
They appear in Sardi before “Oklahoma!” The crew arrives, Hart makes his way to the bar and divides not to drink it. As if it was the expectation of any “Casablanca” comparisons, Hart begins choosing the movie Humphrey Bogart in front of Eddie The Bartnder (Bobby Cannavale), but despite his smooth talk, no one is deceived: Hart will be drunk before the end of the night, like the beloved Warner Classic Bruce, acknowledged that the best years of their relationship have passed. (They will always have “Pal Joey”
During their pride, Rodgers and Hart helped carry the musical theater in the modern era, and the songs of the songs that pushed the conspiracy forward and looked at least compared to what happened before, more like the way people spoke. While Rodgers (Andrew Scott) awaits, Reagalis Edi and a few other people in the room are waiting for his last fragility, a young woman named Elizabeth Wieland (Margaret Kuwali), who inspired real life correspondence with Hart Robert Caplo Orboul and the quotation scenario to what No end for “Blue Moon”. Although it is widely acceptable that Hart was gay, the film provides a more interesting explanation: “To be a writer, you must be everywhere,” he said.
Hawke is clearly enjoying a set of great dialogue that he can present here, but I cannot start imagining the reason for him or Linklater (who has collaborated in eight of the features of the Indie exit before) a short role, steel, gay Jewish from Harlem. Hawke is not one of these things, and although it gives magnetic performance and often moves, the different tactics used to pass it because what Rodgers “Shrimps” calls his attention, who made him stand on his foot below his stars to the sake of a bald cover over his hair.
It is like Matthew McConaughey in the role of Truman Capot. Instead of watching the facial expressions of the actor, I found myself staring at the way I made the Hook’s foreheads like V -widowed wrinkles at the base of his widow, unconvincing covered with a borrowed biscuit biscuit. It is a problem even before the star takes off his hat, and the elephant remains in the room for the rest of the movie.
Along similar lines, as a straight man, Linklater gets to know sexual tension in the scenes between Qualley and Hart, but he appears directly in homosexual moments in the text- such as the one who follows the “Jonah Lees”, The Fresh- face the pianist in the costume In accurately compressed, to the men’s room. The second advantage of the director with the screenwriter, “Anna and Orson Wales”, Caplo, creates a poetic book for this project, which we transferred to the first days of the high American talent (casts unknown wisdom Wales).
Here, we find ourselves at the other end of a creative profession, and watching a wonderful but ultimately pathetic man trying to his former partner in new cooperation, even when Rodgers reveals why they go to their separate path. Hart realizes his harsh critics, intuitively, the strengths and shortcomings in the work of anyone else, from Genchwin to “Oklahoma!” Beware any offer that infiltrates a mark of an exclamation to his title, warns, while repeating Rodgers because of “Pandering” of the fans with emotional romance. It aspires to a more complex emotional work, which is “the blue moon” for sure – the movie at least, the song is not much.
Kaplow is installing it with triviality (including the cause of “Blue Moon” makes Hart Ring) and inside the gestures, some of which are easier to get to know him than others. He puts EB White articles on that night in Sardi’s, indicating “Picasso at the Lapin Agile”, where Heart gives him the idea of ”Stuart Little”. In the same scene that Hammerstein Hart thanks for the way to pave the way, Savant offers an early Broadway named “Cillian Sullivan”, who has the nerve to summon Hart “dirty” to his face (concluding extract from Sondheim “finishing the hat”).
By this stage of the movie, I finally stopped staring at Hawke’s Hairline and kissing it in this role, which made peace by choosing Linklater to allow Hart to perform the conversation.