The problem of the son has been resolved, via the adoption of the resigned principal, but the problem of woman left. One may argue the problem of woman has already been resolved because the son is undoubtedly her only problem, and all her life and hope. That’s true, even from the perspective of the protagonist. But it ignores her painful defeat—her failure to be a mother. The social hierarchy claims, a lowly prostitute is no more than a degenerate plaything, far from the glorified, cherished role/value of “mother”. Against all, she does become a mother and perform the duty of a mother, with greater virtuosity. Nonetheless, in the end she urges the principal to erase her identity as a prostitute/mother in the memory of her son, amounting to be forced to affirm the claim that a prostitute is impossible to be a good mother. So she is a mother hard to be a mother, proud of being a mot
毫无疑问的华语第一默片（《大路》算半有声片）。试着按时间顺序摘录影片中有意思的视觉设计：
——阮玲玉抱着孩子看向天空的特写
——阮玲玉坐柜子上抽烟
——男人看向赌博屋的窗外，看到了阮玲玉在夜空中的叠化
——阮玲玉通过镜子看到男的带着小弟来了
——被逼着“结婚”后，阮玲玉那个哭中带笑的无奈表情
——阮玲玉悲伤与小孩大哭的蒙太奇
——男的出现在新家的场景镜头用快摇突出慌张与惊吓感
——类cowboy shot：阮玲玉在构图上被挤压在男的的胯下
——出去做生意，脚的特写表现阮玲玉的心情
阮玲玉是一轮哀伤的月，她望向你时，满月般的脸庞就已经说完了苦难。她美如月下的纱，风扶细柳，瘦弱的肢体似乎不堪一击。但她痛怒时，雷霆似乎都在颤抖，没有人敢直视她的眼睛。
了不起的演员与了不起的电影。在那个年代，阮玲玉的演技之细腻自然可谓超越了年代。刚开场的几个动作就足见不凡，毫无雕饰。她的眼中有哀、有爱、有愤、有恨，笑中有化不掉的悲苦伤感，哭时有自嘲般的悲愤忍受。幸福时，似乎已达到人生的至乐;悲痛时，上天也要为她垂泪。当她怒时，真是神女发怒，她该当无力抵抗，却偏偏雷霆万钧!
有一些东西，如果你拥有金钱，就很可能拥有，比如新款的奢侈品。
也有一些东西，即是你拥有金钱，也很难寻觅，比如一部发了霉的老电影。
感谢爱奇艺，腾讯，优酷，1905，哔哩哔哩，西瓜视频，感谢所有保存、转码、发表、维护的人员，感谢管理人员（谢谢你们“免费发布”的决定）。
感谢你们，也相信你们能感受到我的谢意。
《神女》黎铿出演，那温暖灿烂的笑
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