电影讲述一个妓女带着孩子生存在一个身不由己的年代，不仅要忍受流氓地痞的欺负，还有街坊四邻对于职业的看不起。阮玲玉的表演恰到好处，一个个的细节刻画，表现出母亲对于孩子的隐忍力如此之大。一次次的逃离，却一次次被流氓找到，最终忍无可忍，失手杀了坏人，却也无奈进了监狱。法律不保护弱者，人间的善意和温暖也只体现在了老校长的角色上，校长让我们看到全篇唯一的阳光。最打动人心的还是小朋友从学校学习了广播操，表演给妈妈看，认认真真教妈妈学习广播操的过程，神女脸上才露出一些些笑容
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!
今年四月份的北京国际电影节，《神女》2K修复版在中国电影资料馆举办了首映，中国爱乐乐团的现场配乐深情而感人。而在上海电影节期间，《神女》也在上海电影博物馆5号棚进行了放映，这个地方是《神女》出品方联华影业公司的原厂址，重温起来别有一番时空穿梭的意味。
相信有很多人跟我一样，第一次看《神女》，并不是真的看到这部黑白电影，而是在关锦鹏导演的《阮玲玉》当中。里头出现了众多阮玲玉饰演的电影片段及介绍（再由张曼玉去模仿重现），其中便有《神女》。她在流氓面前拒不低头
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
“神女”应当去夏花一样绚烂
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