Both films celebrate the painstaking craft of writing the perfect lyric — assembling just the right combination of syllables to elicit emotion. But they also make it clear that the act of creation alone can’t cure their protagonists of what haunts them: Springsteen battles a depression he can’t sing away, while Hart wrestles with the alcoholism that cost him his career — and later, his life.
Early in Blue Moon, Hart bemoans the inevitable success and longevity of Oklahoma!, asking his sympathetic bartender (Bobby Cannavale), “Who wants inoffensive art?” Both films are realistic enough to know that plenty of people do, yet they stand as rallying cries for music that challenges the listener, immersing us into all of the life — the pain, the love, the loss — that goes into a perfect three-minute song.