1935年3月14日,上海。20多万人自发走上街头,告别一双凄苦的眼神,一位死于流言的戏子。在纽约时报驻沪记者笔下,这场面是异乎寻常的,“是世界最伟大的哀礼。”它所代表的,除了对她银幕形象的缅怀,更有一份压抑已久的愤懑。在鲁迅先生的纪念文章中,这位“颇有名,却无力”的女演员是“勇者”。而在很多和阮玲玉共事的导演们来说,他们见证了一次悲剧的重演:主人公用血肉之躯激活了银幕上巨大的悲剧力量。在此之前由她主演的《新女性》里,根据自杀的女明星艾霞经历改编的故事已足够让人哀伤。而在多年以后(1949年),深受阮玲玉影响的另一位女演员李绮年亦走向了同样的结局。作为卓越的艺术工作者,阮玲玉在短短的生涯里,为中国人,特别是底层弱者奉献了全部的生命能量。那种忧郁的美和朴实无华的演技,一次次呈现在银幕上那抒发不尽的悲伤表 March 14, 1935, Shanghai. More than 200,000 people took to the streets spontaneously, bid farewell to a pair of miserable eyes, a dying actor. In the New York Times correspondent in Shanghai, this scene is extraordinary and “it is the greatest sadness in the world.” What it represents, aside from cherishing the memory of her screen, has a more repressed resentment. In Mr. Lu Xun’s memorial article, the “famous, but powerless” actress is “brave”. In many directors who work with Ruan Lingyu, they witnessed a repeat of the tragedy: the protagonist fueled the tremendous tragedy on the screen with flesh and blood. In the story of “New Woman”, starring in her earlier episode, the story based on the suicide of female actress Ai Xia has been sad enough. And many years later (1949), another actress Li Qi Nian, influenced by Ruan Lingyu, also came to the same conclusion. As a great art worker, Ruan Lingyu devoted his entire life energy to the Chinese people, especially the weak at the bottom, in his short career. That melancholy beauty and plain acting, time and time again on the screen that expression of endless sadness