The Greatest Showman #1341 - Depressed Life

His name is LeWine Davis.

A lonely and unknown folk singer, LeWine spent the night curled up on the sand at his friend Professor Grofiens' home. Amid his boredom, his only distraction was to unwrap the black paper from his friend's bookshelf. He placed the vinyl record on the gramophone, and as it started playing, the big yellow cat at the house slipped out the door as it wasn't closed properly.

In a panic, LeWine tried to chase after the cat, but after setting down his backpack and guitar, he heard the unmistakable click of the door locking behind him. His movements froze. That's when he realized—he didn't have a key.

Picking up the big yellow cat, which hadn't gone far, he approached the building manager, hoping they could help. However, the manager refused, claiming they had to run the elevator. He then called Professor Grofiens' office from a payphone downstairs, but couldn't get through. Desperate, LeWine could only hug the cat and his guitar case as he rushed into the subway amidst the busy crowd. He was headed for Greenwich Village.

In his haste, the cat slipped from his arms again, and LeWine had to chase it through the crowd. Luckily, the subway doors closed just in time, allowing him to catch the cat. He then hurried to another friend's house, but they weren't home. He had to ask the residents on the first floor to let him use the fire escape, so he could enter his friend's apartment, leave the cat, and leave a plate of milk.

This montage marks LeVine's first official appearance.

The music, with its melodic and moving choices, constantly swirls in the background, seamlessly blending with the visuals, the story, and the overall atmosphere. Even the lyrics and musical notes seem to become part of the movie. Emily couldn't help but feel a strange familiarity with the singing. After a few beats, she remembered—

LeVine's vinyl record on Professor Grofiens' bookshelf was called Timlyn and Davis, a folk duo. The cover featured LeVine and another unfamiliar face—possibly Marcus Mumford of The Blessed Sons.

The camera briefly zoomed in on the cover, but it flashed by too quickly to notice.

Now, Emily realizes that the soundtrack and the story are intricately tied together. The flowing shots and music combine to depict New York in the 1960s: retro, chaotic, crowded, yet lonely and indifferent, slowly infiltrating the film's atmosphere.

What had she missed in the opening scene?

Sitting up straighter, Emily's curiosity began to grow. This movie was definitely worth revisiting. She was already looking forward to studying it in greater depth during the second viewing, though for now, she needed to focus and immerse herself in the film.

LeVine visited his record label.

Once, LeVine Davis and Mike Timlin were an unknown folk duo. Now, LeVine is a solo artist, still far from famous. His latest album, Cincinnati, has sold poorly, and he's unable to receive royalties or even an advance for his next album. Winter is approaching, and he doesn't even own a coat.

The record company owner, showing a mix of pity and sympathy, offers LeVine his winter coat. However, LeVine refuses, accusing the owner of insincere sympathy. He claims it's all just a show, which inadvertently insults the good intentions of the record boss.

The audience in the Lumière Hall let out a collective breath, disagreeing with LeVine's response.

Suddenly, the situation shifts.

The record company boss yells at LeVine to leave, and LeVine, momentarily stunned, gets up obediently and starts to exit. He even grabs the coat, but the owner exchanges it for forty dollars.

The audience is shocked.

Emily couldn't help but chuckle. This was classic Coen brothers humor—cold, dark, and perfectly timed to create an unexpected, humorous moment.

LeVine returned to the home of friends Jim and Jane.

Upon arrival, he was greeted by Jane's anger and Troy Nelson, who was comfortably seated in a rocking chair, cradling the big yellow cat.

Jane expressed her frustration at LeVine for abandoning the cat and went on to say that she and Jim had agreed Troy would sleep on the sand that night. As a result, LeVine could stay only if he agreed to sleep there as well.

LeVine tried to explain the situation, but Jane cut him off, not giving him a chance to speak. LeVine, distracted by Troy's upcoming performance at the Gaslight Café, showed confusion and frustration.

The contrast between Jane's impatience, Troy's laid-back attitude, and LeVine's bewildered reaction filled the room with tension. Jane, fuming, grabbed a sticky note and wrote a few words before handing it to LeVine.

"I'm pregnant."

LeVine's smile instantly faded, and he blurted, "What the hell?"

Jane stared at him, raising an eyebrow. Her sharp gaze pierced the screen and seemed to look directly at each audience member.

Emily's eyes widened. The plot wasn't clichéd—it was the characters' complex relationships unfolding naturally, in a way that made the Coen brothers' storytelling feel brilliant. They managed to build foreshadowing, deepen character motivations, and move the story forward, all while keeping it enjoyable.

The next scene became Emily's favorite.

After the sticky note incident, Troy took the stage at the Gaslight Café. LeVine and Jane, now seated apart, had a tense conversation, but the moment Jim arrived and sat between them, LeVine's frustration became apparent. He asked Jim how the performance was.

"Great," Jim said, but LeVine shook his head, clearly dissatisfied. The audience shared the same opinion as Jim, making LeVine the only outlier.

Jane, anxious, left to get a drink at the bar. LeVine, lowering his voice, asked Jim for money, promising to repay him soon. Jim hesitated, recalling a previous loan.

"Again?" Jim asked, confused.

LeVine quickly assured him, "It's not the same." He added, "Don't tell Jane."

"If I don't tell Jane, I can't lend you the money," Jim replied.

"Bastard!" Emily overheard a girl behind her mutter under her breath, causing her to chuckle.

Troy finished his performance and called out, "There's a special audience member here today. Maybe he can help me a little."

LeVine, recalling Troy's earlier admiration for him, shook his head in rejection.

"Let's welcome Jim and Jane!" Troy announced.

The audience in the Lumière Hall erupted in laughter, especially as they saw LeVine's facial expression—disappointment and loneliness mixed with a subtle emotional depth. The real highlight came in the next shot.

LeVine joined the applause but his eyes stayed fixed on the stage, briefly flickering with emotion before he lowered his gaze and picked up a cigarette. The camera captured the sadness in his body language, conveying far more than words could.

The soft, nostalgic melody of Five Hundred Miles played in the background, creating a warm contrast to LeVine's internal struggle. He sat quietly, eyes fixed on Jane as she stood under the spotlight, his gaze filled with quiet affection.

A quiet tear welled up in Emily's eyes. LeVine, despite his rough exterior, had shown his deepest vulnerability.

He loved her.

Emily hummed softly, "Unclothed and penniless, Lord, I can't just go home."