One Thousand Three Hundred and Four Bitterness

In the evening, Levine came to the home of the Grofiens couple with the big yellow cat, but unexpectedly met friends who came to the professor's house. The professor and his wife warmly invited Levine to stay for dinner.

But here, Le Verne looks out of place. Because this is a group of people who have received higher education and enjoy classical music; while folk songs come from the poor on the streets.

After dinner, Lillian Grofiens warmly invited LeVine to perform a piece, although LeWine was reluctant that his music was not a ditty for after-dinner entertainment, but a pursuit of art and dreams ; but Lilian warmly invited, the scene was already a little embarrassing, and he still couldn't refuse after all.

So LeVine took over the guitar and started playing the song "Wait Goodbye". He doesn't know why he chose this song. Maybe it's a habit, a habit of going deep into the blood.

Fingertips played on the strings, a helpless arc appeared at the corners of his mouth, and he hummed softly, "If I can spread my wings like Noah's dove... I will cross the river and pursue my true love..."

The faint bitterness and vicissitudes of life are revealed in the deep voice. This song is the second soundtrack of the opening. The vinyl record that LeVern found at the home of the Grofiens and his wife sang it together with Mike. of that song.

But unlike the opening melody, LeVine's singing is so sad and lonely at this moment, and it seems that the scars deep in the soul can be seen in the lingering sound, and Emily can't help but slowly immersed in Levy. In the world of grace.

For the first time, she understood the screams and roars in Le Verne's heart, about Jane, about Mike, about music, about life, the power of the soul penetrated little by little, but there was no time to immerse further. , a chorus came from her ear, from Lillian.

"Wait goodbye...bye..."

"My love... love..."

Levine's singing was interrupted like this, he stopped playing and started questioning Lillian.

Lillian said puzzled, "That's Mike's part."

"Don't do this." Levine's voice trembled slightly, revealing a trace of unbearable pain.

In an instant, Emily was defeated like this. Without warning, she raised her right hand and covered her mouth, and the tears kept falling like this. She understood the sadness and bitterness behind this song, she understood the vicissitudes and scars in Le Vern's singing, and she also understood the helplessness and daze in Le Vern's soul.

LeVine exploded.

Levine vented all his anger towards Lillian, and rudely and rudely destroyed Grofiens' dinner, the scene suddenly became ugly, but he didn't care, and unreasonably put all the Negative emotions are vented.

What's even more ridiculous is that the big yellow cat is not Grofiens' cat. Because their cats are male. The cat that LeVern brought back was a female.

In the midst of the chaotic scene, Emily cried more and more sadly, just staring at Levine like a trapped beast, wandering around in the city of New York, dashing from left to right, but after all, she still couldn't To break free, his dream, like a dream of light, was still unable to penetrate the layers of dark clouds, and the world remained in chaos.

At this moment, a handkerchief was handed to her right hand, Emily turned her head in amazement, and saw Steven Spielberg with a sad face.

Steven didn't speak, just shrugged his shoulders invisibly, handed the handkerchief to Emily, and then, without saying anything, turned his head to look at the big screen again, quietly blending into the world in front of him. . The eyes behind the glasses flickered with a touch of sadness, surging lightly, as if caught in a deep memory, unable to extricate themselves.

For young Emily, it was Le Verne's story.

For the older Steven, it was his own story.

LeVine left New York for Chicago.

Al Cody mentioned before that a friend was going to Chicago, hoping to pick up another person to share the gas bill; LeVine expressed disdain at the time, and he was more willing to stay in New York, but now, after all, he is still I chose to go to Chicago with the big yellow cat who didn't know the name or the owner.

It was a very, very strange journey.

The driver is a taciturn tough handsome guy; the passenger is a fat old man who was lethargic the whole time. There was silence in the whole car, and they didn't even introduce each other, and they didn't know each other's names at all, so they went all the way along the road.

The old man finally woke up, full of foul language and spikes all over his body, "Folk? I thought you were a musician. Folk singer with a cat, are you Kei?"

For the folk songs, the old man was full of contempt and disdain, and launched an attack with full firepower throughout.

But for the first time, LeVine directly mentioned Mike, his former partner, "he jumped off the George Washington Bridge."

The old man paused slightly. "Oh, damn, I don't blame him. I wouldn't be able to stand playing 'Jimmy Breaks Corn' every night."

"Jimmy Breaks Corn" is an American children's song.

"Oh, sorry, forgive me, but that's too stupid, isn't it?" Just when everyone thought the old man was apologizing for the nursery rhyme, he shattered the illusion, "George-Washington Bridge? Usually, it's the Brooklyn Bridge, right? The George Washington Bridge? Who would do that? What's wrong with him? An idiot?"

The old man's views represent precisely a group.

They admire traditional music such as jazz and soul, and despise the new music represented by folk songs; even further, they reject the poor people at the bottom represented by folk songs. Middle and high life, refusing to mingle with the guys who live in Greenwich Village.

"The song of a clean bastard", just when everyone thought the tough guy was a dumb, he said for the first time, "Orlovsky."

Peter Orlowski, the famous American poet and actor, the Beat Generation, is also the lifelong partner of the protagonist of the film "Kill Your Love" by poet Alan Ginsburg. The full title of the poem is "Song of Clean Bastards and Smiling Vegetables".

"And then, there was... 'The Brigade.'" It was a realistic sixties drama about the prison brutality of the Navy 6.

Obviously, the old man represents one group, the middle class who enjoy the comfortable status quo; the tough guy represents another group, the beat generation; and the group represented by Le Verne, the folk poets.

Three people, representing three groups respectively, they are all products of the background of the times, adapting to or resisting or integrating into this society in their own way, but invisibly become the cornerstone of the times, become part of the times, and intentionally and unintentionally. push the times forward.

Then, the old man overdose in the toilet, passed out foaming at the mouth, and Levine unexpectedly found out. Before that, every rest stop was bound to stop, and every relief was bound to take a long time, and now it's all explained that the seemingly indifferent old man was drunk in his own comfortable life.

And then, the three of them went back on their way. The tough guy was suspected of drunk driving, and the police forced him to pull over; even though he didn't drink, a spat with the police resulted in him being forcibly taken away. Looking at the police car that drove away, Levine was also confused.

And then, LeVine got out of the car with his guitar. Looking into the eyes of the big yellow cat, after hesitating and hesitating, Levine finally closed the car door, leaving it and the old man behind, walking alone, stopped a car on the side of the road, and started back on the road.

Three people, three endings.

In the dark, it points out the different directions and endings of the era. Emily turned her head to look at Steven subconsciously, and then saw that Steven was in a contemplative expression. Between the light and shadow of the big screen, it seemed that the whole person had entered the whirlpool of that era. Inextricable.

The camera returns to LeVine.

Alone and icy, LeVern arrived in Chicago. Without a winter coat, I shivered in the cold wind, but accidentally stepped on a snowdrift. The whole shoe was like a boat, and I couldn't get rid of it.

Curled up in a coffee shop, stuffed with an infinite refill of bad coffee, took off her shoes in embarrassment, rubbed the soles of her feet lightly to keep warm, but a cup of coffee couldn't warm her body; later, sneakily gave Bud- The Trumpet's Gate bar, which Grossman founded, called, but was afraid to visit in person.

After thinking for a while, he still chose to turn around and walked to the train station with nothing to do, hesitating whether he should go back to New York, but fell asleep on the bench because he was too tired. As a result, he was targeted by the patrol police and suspected that he was an outlaw. While you were chasing me, he came to the horn door bar again.

He was like a spinning top, being beaten and spinning, slamming left and right, but he couldn't find his direction. The snow and ice in Chicago made it impossible for him to find any shelter, not even a decent coat.

After waiting for an hour, I waited until Bud, plucked up the courage to complete the self-introduction, made a cheeky self-promotion, and finally won the opportunity to perform a song in front of Bud.

But a soulful and touching "Death of Queen Jane", a gentle and affectionate singing, seems to have hidden the temperature of the soul in the symphony of the strings, sad and distressed, but in exchange for only one sentence, " I don't see any commercial value."

"Okay," Levine said.

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13o4 Bitterness and Difficulty Page 11

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