But ironically Sanmao and his homeless friends are beaten and chased away from the celebration by policemen when they attempt to join the Boy Scouts marching in the parade.

Sanmao feels guilty after stealing his first wallet and returns it to the owner, but he is thrown into a cell by the gang and left there for three days without food.

Unable to continue living on the street, Sanmao tries to sell himself (at a far lower price than a doll pictured in a toy-shop window) and is bought by a selfish rich woman who wants to adopt a son.

[2] The left-leaning cartoonist often used his drawings to portray inequality in China between the lower classes and the elites and brought attention to child poverty with his illustrations.

[5] Director Zhao Ming also sourced Charlie Chaplin's films as inspiration for The Adventures of Sanmao the Waif, with the goal being to make the movie enjoyable for educated and uneducated people.

Zhao Ming mentioned that he aimed to create a balance between light-hearted, humorous tones and the serious, tragic events that Sanmao experiences.

[9] The director explains in his memoirs that the new ending was produced in haste, in the fervor of Shanghai's liberation[10] and in the wake of shifting political circumstances in China.

Zhang Leping, the author of the original source comic which inspired the 1949 film, The Adventures of Sanmao the Waif, aimed to satirize and call out the apathetic actions and attitude towards child poverty that was held by many people during the 1930s and 1940s.

[6] The last parade scene where a dancer invites Sanmao and other vagrant children to leave the sidelines and join in the celebration, contrasts with the earlier Children's Day parade scene where Sanmao and his friends are chased away and beaten by the police after attempting to join the marching Boy Scouts.

This ending scene of the film diverges from Zhang Leping's original serial comic in that it introduces overt support for the CCP, turning the character of Sanmao into a symbol of political liberation and social justice.

Zhang Leping also displayed his skillful thought and artistic ideas through his contribution to published debates about comic art in specialized magazines.

In recognition of his works, the Zhang Leping Memorial Hall was built in 1995 in the artist's hometown of Haiyan 海鹽, in which guests are able to visit the original physical pieces and art.

[6] Chinese Cinema 1949 Since 1949, because of the political and revolutionary backgrounds in contemporary China, almost all the films had been produced among six major motifs: 1) praise and loyalty to Mao and the CCP, 2) revolution and class struggle, 3) comparison between the new and old society, 4) heroes and models, 5) love and family ties, and 6) backwardness and progress.

It was this idea that raised patriotism and nationalism to an unprecedented level of height, and formulated absolute standards in the political sense for the other five motifs.

Unlike the film Myriad of Lights which uses strict realism and tragedy to reveal the miserable destiny of the lower class, The Adventures of Sanmao the Waif adopts the form of romantic exaggerated comedy to express this theme.

Jean Florenzano[16] bought the distribution rights to The Adventures of Sanmao the Waif and four other films including Street Angel (Yuan Muzhi, 1937), Crossroads (Shen Xiling, 1937), The Monkey King (Wan Laiming, 1961), and Troubled Laughter (Yang Yanjin, 1979) to help bring more exposure to Chinese cinema.

The Adventures of Sanmao the Waif was screened at the Cannes Film Festival in 1981, as part of a special program, “Images Du Cinema Chinois”, that highlighted the shift of Chinese cultural politics towards an international market.

It solidified the character of Sanmao as a Chinese cultural icon, resonating with audiences by portraying resilience amidst societal struggles.

[17] Educators frequently employ the film to delve into social issues and historical contexts, offering valuable insights into poverty, inequality, and resilience in Chinese society.

[18] Scholars continue to dissect the film's portrayal of societal issues, emphasizing its role in shaping cultural narratives and its enduring relevance.

Additionally, the Sanmao TV series (1998) faithfully captures various episodes of his life, earning acclaim for its fidelity to Zhang Leping's work.