Larry Hart reflects on the commercial pressures of songwriting while sharing a drink with friends. He recounts a cynical but humorous anecdote about how his artistic lyrics were rejected by a studio executive in favor of the more marketable title Blue Moon.
HART: You know, it wasn’t even supposed to be called Blue Moon. I called it The Bad in Every Man. We wrote it for this movie Manhattan Melodrama. Jack Robbins, formerly Rabinowitz—he had his name circumcised—over at MGM, he hears the song; he calls us into his office, he lowers his pastrami, says: D
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Elizabeth's Birthday Debauchery
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Elizabeth recounts a painful and humiliating romantic encounter to her friend Hart, detailing the emotional fallout of a failed sexual experience on her 20th birthday. As she describes the vulnerability of unrequited love and the subsequent coldness of her suitor, Hart listens with a mixture of fascination and deep empathy, reflecting on his own romantic struggles.
A Portrait of Elizabeth
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Lorenz Hart approaches the writer E.B. White at Sardi's to discuss his artistic obsession with a woman named Elizabeth. Hart reflects on the nature of songwriting, vulnerability, and his disdain for the simplistic lyrics of his contemporaries while seeking validation from a fellow writer.
Hart's Irreplaceable Elizabeth
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Lorenz Hart, a brilliant but troubled playwright, drunkenly confesses his infatuation for a woman named Elizabeth to a weary bartender. He passionately claims his internal emotions could outshine his greatest professional successes while struggling with his own erratic behavior.
Hart's 'For Worse' Moment
from Blue Moon
In a sophisticated New York bar, Hart and Andy White reflect on their aging and the feeling of being 'superannuated.' Hart shares a story about a recurring mouse he catches and releases in Central Park, which inspires Andy's search for a children's book protagonist.
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