Ethan Hawke in Richard Linklater’s biopia.

A long and useful collaboration between Ethan Hawke and Richard Linklater extends for 30 years to Before sunriseContinuing with the other two parts of that top romantic trilogy, recorded in nine -year intervals, Before sunset and Before midnight. Although the project lasted 27 years, the actor and director also spent more than a decade of shooting Childhood A few days at once, once or twice a year. Their intimate knowledge of the artistic symbiosis adds a sharp backing of Hawke and Linklater -I re -gather Blue MoonTransfixing figure of a study that X -ray skeleton creative partnership of a comparable duration.

He wrote with the wrong humor and perspective of Robert Kaplow, whose novel was the basis of Linklater -O’s 2008 features, Me and Orson WellesThe new movie is re -set in the Broadway world and extends to the theater line in illumination of personal ways.

It takes place in real time on March 31, 1943, the historical opening night of orientates, the genre-redefining musical that would last five years and create countless tour and revives, Okaa Oklahoma! But his item is not one of the creative team on that show. Instead, the film focuses on the famous songwriter Lorenzo Hart (Hawke), who abolished Bourbon down the street near Sardi, while New York Theater was indicated by the success of his composed partner 20 years, Richard Rodgers (Andrew Scott).

Okaa Oklahoma! Rodgersov first cooperated on the musical with another partner, librettist and songwriter Oscar Hammerstein II (Simon Delaney). A gentle path of pathos that can be felt even under a sparkling blow Blue Moon He feeds on the realization that Hart would be dead eight months later at 48, succumbed to lungs four days after finding shivering in the gutter in front of the eighth Avenue he visited.

However, a layered study of character also gains emotional weight from the fact that Rodgers and Hammerstein will become one of the most famous creative teams in the history of the music theater, by far the eclipse of Rodgers and Hart.

Not that the latter duo did not leave her legacy. Their most popular shows Connecticut Yankee,, Pieces in weapons,, Syracuse boys and Pal Joey. Even more notable, however, the crowded standard catalog that has been absorbed into the big American song book, including “My funny Valentine”, “Fascinated, bothered and confused”, “Manhattan”, “Lady is Tramp” and “This can” ” Be love, “together with the song that gives this movie the title.

Apart from the fast opening of Hart, which collapsed under heavy rain in the alley, where a friend found him before he was hospitalized in the last days, out of Sardi’s Hangout, there is only one short scene, a popular Hangout theater district recreated in Ireland Very convincing facsimile by the designer of the production of Susie Cullen. The scene shows Hart in a box at St. Okaa Oklahoma!

The rest of the movie takes place in full at the restaurant. While Linklater never tries to overlook the static nature of the settings or theatricality of the material that could easily be a game, he is a director who has a little equal when it comes to maintaining a movie based on a conversation, a skill she is Ago The trilogy is completed to perfection.

This does not only apply to the dexterity of the regular cinema of Shane F. Kelly, who weaves about jointly playing with spatial dynamics and maintaining visual interest.

He also refers to top actors, especially Hawke and Margaret Qualley as Elizabeth Weiland, 20-year-old student Yale, who introduces Hart as her protégé, maintaining a misconception of hope in the romance, despite being a lyricist undoubtedly a gay at least on this account. The actors find music in their dialogues.

Scott has less to say as Rodgers, but he is such a sensitive actor that he can convey the rush to the composer’s head of a fresh professional triumph, and at the same time shows kindness and even generosity to his associate who is free to admit to his career to owe his career. At the same time, Dick laid the law with Larry, telling him if he would work together on a new version Connecticut Yankee, It insists on a total professional discipline – no longer Awol on Binges drinking.

The look of the two actors here specifies the opposite points of the career of their characters with his greasy combination and a bit of a formal formal wearing, Larry is obviously not at his peak, while Dick is a glittering picture of health, which is in his crispy Tuxedo. .

Even if Larry is on the low Ebbu, he puts a rather decent show of confidence and certainly has complete command of his brittle mind. When he pulls the chair to talk to Barter Eddie (Bobby Cannavale, down to the ground), Sardi’s employee has an affirmality for his profession, but also saw enough Larry in the worst case that he still reminds him that he does not assume his alcoholic drink. Hawke gets the hell of light in his eyes as he advocated Eddie to pour him a shot and then leave the bottle, just to be able to admire. But if there is honesty in that promise, it does not stay long.

Hawke manages to make Larry as charming as the seed, Rakunteur entertaining Eddie and a pianist who nicknamed Knuckles (Jonah Lees), a military man on leave before the crowd starts to pour. He flirts with a handsome young guy who supplies flowers, insisting that later that night in Larry’s apartment he came to a party, and he lets go wonderfully strongly removing the use of exclamationals in the title show. He also included in Confivilate a conversation with another customer, EB White (Patrick Kennedy), who is reserved than verbally incontinent Larry, but he seems to appreciate his humor.

A well -known essayist who seems to have burned a little along the path of his career and goes into children’s books (he would write classics Stuart Little and Charlotte’s Web), White is one of the handful of known names that either appear or mention. Others include the New York photographer Weegee (John Doran) and a fraudulent child who follows his mentor Hammerstein and was identified as “Little Stevie” (Cillian Sullivan). If you do not recognize the 13-year-old boy as Stephen Sondheim, please include your theater card on the output.

Larry is full of praise for Okaa Oklahoma! When Dick and Oscar arrived in a cordial applause, hitting a different tone from his rejected comments earlier about the artistic merits of the show. There is too much pride to worship and scratch, but he is merciful with his old friend and shows a desire with shades of despair, because he holds that Walk is scored by Dick to talk to feverish excitement about potential new projects to reunite them.

Hawke is wonderful in these exchanges, subtly exposing the damaged infrastructure of a man who may know that his best job is behind him, but does everything he can to convince himself of otherwise. On his face, the smallest mark on his face is every time Hammerstein reads another ecstatic clip for an examination as they start arriving.

The same amount of Larry’s attention, however, is focused on Elizabeth. The daughter of a member of an influential theatrical guild, has her own hnnobbing. She disappears to hang out when the party is moving upstairs on the opening night, but returns to spend time with Larry, whose hunger lives a shouting through her account of sex with a boy from a dream college, a little to hide her “damn”.

Still, one of Hawke’s most gentle duality is that he can channel Larry’s Queerness, while entertaining the fantasy of a romantic future with Elizabeth. There is tenderness and compassion in Qualley’s eyes as the words no one wants to hear, but Larry can easily predict: “I love you, just not that way.”

Blue Moon is a deceptively modest project, but it is nicely performed and fascinating, although it is quite simple in terms of plot. The movie has a lot to say about giving and taking creative collaboration; Interruption of the hug of the then insular New York theater community; Something safe space for that environment for gay men, even if it was rarely spoken openly; And the fact that even this degree of tacit acceptance is slightly alleviated by the solitude of the cabinet.

And in the ways that most of us can connect, even if we would not hesitate to admit it, the film is a sincere reflection of conflicting feelings that we sometimes welcome the success of others in our fields. This is another satisfactory and characteristic idiosyncratic entry into the fertile cooperation of Hawke and Linklater.