An ordinary citizen, Liu Cheng, picked up an abandoned baby at the railway station thirteen years ago. He was kind-hearted and could not bear to abandon the boy, so he brought it home and raised the boy with hard work. For this reason, Liu Cheng did not have a family for more than ten years. In order to let the boy have a healthy and beautiful life, Liu Cheng lied to the boy that it was his own flesh and blood, and named him Liu Chun. His mother died before meeting him in the early years, and lied that a violin that he had brought with him from picking up Xiaochun was a relic left to him by his mother. Believing it to be true, Xiaochun regards the violin as the only communication bridge with his mother in the sky. He has been with the violin since he was a child, and thus cultivated his musical talent. He hopes that the father of "son" Jackie Chan will be willing to bring his life savings to bring Xiaochun to adulthood. While studying in the city of Beijing and wandering in Beijing, Liu Cheng worked hard and did everything to gain all favorable learning opportunities for Xiaochun. During this period, due to some misunderstandings and some external temptations that were irresistible to a young mind, Xiaochun and Xiaochun became irresistible. "Father" Liu Cheng gradually drifted away, but in the last part of the film, Xiaochun realized Liu Cheng's selfless love for him after accidentally learning the mystery of his life experience. At the last moment, Xiaochun chose to give up "success" and return to his family.
In order to be able to move people's hearts, in the whole process of the film, the figure of music runs through, and even chooses the D major violin concerto of the great Russian romantic composer Tchaikovsky, the famous British musician Luo Jay North said: The purpose of music is twofold, one is to delight the human organs with pure harmony, and the other is to move or inspire enthusiasm. The film expounds what Roger North said by using music to render the father-son relationship between Liu Cheng and Xiaochun. In our increasingly developed economy and society, art is utilitarian, and a part is inserted in the film. The experience of Tang Rong, played by the famous young violinist Li Chuanyun, illustrates the abnormal phenomenon of the commercialization of music art. The director made a sharp irony on this point through the mouth of Professor Yu in the film: Musical talent and success are not mutually exclusive.
However, the power of family love that Liu Chengxian Xiaochun paid regardless of gain or loss still defeated the cold interests and utilitarianism. He never married, but a man from the north was willing to leave his hometown and live in the south for more than ten years, delivering food on the streets of Beijing in the coldest days. Liu Cheng's kindness and selflessness finally moved Xiaochun, a sensitive and silent boy. Different from the so-called inspirational path to becoming a genius that is usually reported by the media, the talented and promising Xiaochun abandoned the success at hand at the last moment and returned to family affection. His return also implies his return in music, a return to sincere and simple. The origin of music, taking off the flashy coat, and educating people's hearts is the essence of music.
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