(Life Through the Lens - Photo Illustration/MetroCreativeConnection)

“We invest our hearts in worthless stocks.”

***

Everyone fights differently.

Some fight through volume — others through venom — still others through virtuous silence.

Some fight through distraction — others through distance — still others through damning indifference.

Some fight through argument – others through art – still others through aggressive denial.

Some fight through therapy — others through empathy — still others through deferred atrophy.

Your job in life is not always to win the fight; it may be to merely put up the fight. To care enough to enter the ring. To risk the outcome despite the odds.

When life gets hard, when love is tested, when the fight comes knocking on your door, can you do it? Can you fight for what you want — for what you need — for what you cannot do without — for what truly matters?

***

Agnes (Jessie Buckley) is a woman of the forest. She can often be seen there and prefers its gentle authority to that of society and community. Along comes a new tutor (Paul Mescal) to Stratford: handsome, intelligent and a bit eccentric. When our two star-crossed-lovers meet under canopy of green, their love blossoms quickly and naturally. Custom would have different destinies for these two, but love made her will apparent. They became pregnant and wed despite the disapproval and disappointment of many.

Although three children were born to Agnes, she is convinced that death will rob her of her little ones; she is frayed at the seams with constant worry. When young father decides to move to the big city of London to further his writing career, Agnes understands and supports … but the added pressure is quite unbearable.

When unthinkable tragedy strikes, father is nowhere to be found. Grief turns to festering disdain: what kind of father remains absent? When Agnes hesitantly goes to London to witness her husband’s new play “Hamlet,” it is only there that she can see the toll that life has had on her introspective partner. It is through words that he fights.

I am a big fan of writer/director Chloé Zhao — her effortless and elegant style has created a few stunning pieces. “Hamnet” is much the same! I don’t quite love it as much as 2020’s “Nomadland” or 2017’s “The Rider,” but her style shines once again. She glides through the moments with such power. I miss the illusion of “reality” that her other pieces possess, the thin line between real and scripted that she blurs.

The cinematography by Lukasz Zal was stunning and surreal. The production design by Fiona Crombie had rich details and authenticity. The costume design by Malgosia Turzanska was vibrant and memorable.

Buckley deservedly won her Oscar this past weekend; she inhabited a difficult role with complete abandon. Her “big” moments were fine, but many actors can sob and roll around — it was the subtle things, the internal war, the seismic shifts in her gaze … there was immensity in her performance! Paul Mescal was wonderful as Shakespeare. I was definitely off-put by Jacobi Jupe as Hamnet; when kids act way too mature for their age … it makes my skin crawl.

Although not my favorite Zhao work, it was strong and affecting. “Hamnet” can be streamed right now on Peacock.

REPORT CARD: “Hamnet.”

Grade: B+.

Assessment: A work of sensitivity and patience

***

Lorenz Hart (Ethan Hawke) was once Broadway royalty — his former partnership with Richard Rodgers (Andrew Scott) dominated musical theater for years … but that is all in the past now. Rodgers is now teaming up with Oscar Hammerstein. Their first musical together, pretentiously-titled “Oklahoma!” (with an exclamation point?!), just crushed it opening night. Hart slips away from the praise-filled premiere to Sardi’s restaurant to wistfully wallow around his longed-for-but-forbidden alcohol.

Hart engages the bartender (Bobby Cannavale) and military-uniform-clad piano player in endless conversation, full of reverie and remorse. As his passion for lyrics might imply, he is never short on words (although extremely short in stature). Although his career is stalled, he muses about a new muse in 20-year-old college student Elizabeth (Margaret Qualley); the love he feels for her, the possibilities and promises that he reads in her graceful presence and poise … he can hear the new music writing itself! She will be his comeback to form and fame!

When the “Oklahoma!” party comes to Sardi’s, Hart cannot escape the crushing reality — when Elizabeth meets Hart in the bar, Hart cannot escape the devastating truth. He can hear the music, but the music is simply fantasy. A fading fantasy at that.

Richard Linklater is a fearless filmmaker; he has done a bit of everything! His restrained version of a biopic is a breath of fresh air. I believe biopics to be a tired and tedious genre – most cover too much material with no tact or delicacy. Instead of a life story, “Blue Moon” is a moment in time. A telling conversation. A man at a crossroads. We don’t journey the roads from inception to termination; we simply sit with him as he decides which road to undertake. Genius.

The screenplay by Robert Kaplow is a standout — it is constructed of actual letters to and from Lorenz Hart, so its soul is Hart’s completely!

Hawke is among the finest actors of his generation. Ne’er a bad performance in sight. His Hart is brimming with pathos and precision. From his physicality to his psychology, he creates a wonderful character to observe and appreciate. In a just (Holly)world, Hawke would have won his long-deserved Oscar this year… but it did not come to pass. As a matter of fact, he should have a few by now (2014’s “Boyhood,” 2017’s “First Reformed”)! Scott was commanding yet completely controlled. Cannavale was a solid grounding for the whimsy of Hawke’s performance. Qualley was great as usual, energetic yet enigmatic.

Put another feather in the cap of Richard Linklater for a unique glimpse into a unique artist. “Blue Moon” can be streamed right now on Netflix.

REPORT CARD: “Blue Moon.”

Grade: A.

Assessment: Portrait of an artist.