The pair dreamed up a number of musicals which are now considered undeniable parts of the canon, with the likes of Oklahoma!, The King and I and The Sound of Music all standing among the most beloved shows of all time.
The ending of that partnership, right when Rodgers's new collaboration with Hammerstein was on the ascendancy, is now the subject of a new film from director Richard Linklater, which is named after perhaps Hart's most iconic number: Blue Moon.
The script by Robert Kaplow (Me and Orson Welles) is actually adapted from letters between Weiland and Hart, although Linklater stresses that the film is "inspired by", rather than based on, those letters.
"So Robert just took that as an inspiration for a big jumping off point to express something else. This whole thing's kind of a fanciful imagination of what could have happened on this night? It did happen [in that] there was this night Oklahoma opened. Larry Hart was there. He went with his mum. And what was he feeling? So, you know, he takes a run at that."
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One of the things that was so fascinating about Hart – and makes him a great subject for a film – is that you could ask two different people for their opinions on him and get what appeared to be two diametrically opposed answers.
The first of those quotes comes from Hammerstein, who describes his fellow lyricist as "alert and dynamic and fun to be around".
Perhaps unsurprisingly, this seeming contradiction within the real Hart was something that Hawke was excited to dig into.
He continued: "He's the smallest person in the room and the largest person in the room. He's gay and in love with a woman. He can be bitter and jealous and warm and encompassing and empathetic, and he's experiencing a positive and a negative at every moment.
"And so yes, that question was the key to him, I thought, and the quotes at the opening of the movie says everything."
View oEmbed on the source websiteAnd Linklater explained that working on a film about a breakdown of a creative partnership had given him a newfound "appreciation" for his own dynamic with the actor.
"I do think our appreciation of what artistic intimacy is and how violent it would be to lose it, I think we're maybe sensitive and keyed into that," added Hawke. "But Rogers and Hart collaboration was so intense because they didn't work with anyone else. It would be like if we'd never made a movie with anybody else!"
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