I have a passionate interest in musical theatre history, especially the post-World War II period. If you fall into this category, I think you'll really enjoy this movie despite the fact that it's not very cinematic. If, however, you couldn't care less about this subject, you'll be wondering what the heck was that? This is the story of the final days of wunderkind lyricist Lorenz Hart, who wrote the lyrics to some of the American Song Book's greatest songs, like "My Funny Valentine," "Where or When," "I Didn't Know What Time It Was," "My Heart Stood Still," and of course, "Blue Moon." Hart and composer Richard Rodgers had a string of hits from the 1920s into the 1940s. Both of them were heavy drinkers, but Rodgers was able to control his better. With the passage of time, Hart, according to Rodgers, became impossible to work with, so he found a new lyricist, Oscar Hammerstein II, who had already had a long career with other composers, including Sigmund Romberg, Rudolf Friml, as well as an especially fruitful collaboration with Jerome Kern. (When Kern died, Hammerstein also needed a partner.) Hart sank further and further into alcoholism. This film takes place on the opening night of OKLAHOMA, which ushered in a new era in the American musical theatre. It was a true landmark (although some might argue successfully that SHOWBOAT really did). The party takes place at Sardi's and Hart is there early talking to the bartender and the pianist, while waiting for the curtain to come down on opening night so the party can begin. He knows it's going to be a huge hit, bigger than any success he had with Rodgers. He's understandably envious. The fist half of the film is basically a monologue with Hart (played by Ethan Hawke, who is not ideal casting) recapitulating his history and his crush on a young socialite/college student who is also the daughter of one of the leaders of the producing powerhouse, The Theatre Guild. He gets drunker and drunker as he talks. The girl is played by up-and-coming actress Margaret Qualley (THE SUBSTANCE and HONEY DON'T). Her role is very minor up until the last half hour of the film, when SHE has a long monologue. As you can probably tell, this is not very cinematic material. It's more like a play by Eugene O'Neill where nobody ever has an unexpressed thought, especially when their tongues are loosened by alcohol. Hart adores the girl, but he is basically gay. And she knows it. And that's the gist of the film. If you're already a musical theatre fan you'll like this movie, but if you're not, you'll probably be bored out of your mind.
