When it comes to romantic melodramas, most Taiwanese audiences would immediately think of films such as Chiung-Yao’s “Mandarin Romance” from the 1970s. These were the so-called “three-hall” films, so-called because their action took place mainly in living rooms, dining rooms and cafés, where romance is the heart of the story and good looking men and women speak of love in high-literary style, and lovers break class barriers to finally come together. In the 70s, Taiwan was economically stable but politically conservative. It was at this time that the melodrama reached its height of popularity, and gave rise to Taiwan’s earliest celebrity culture. But as early as the 1960s, Taiwanese cinema had been producing “Taiwanese-language Romance”. As society transitioned from agriculture to industry and commerce, the population began pursuing wealth, status, and more casual relationships. However, since traditional morals still existed, class and gender gaps remained the core of Taiwanese-language romance, where female protagonists often suffer mistreatment and endure hardship. Therefore, “pathos” remains the audiences’ main impression of Taiwanese-language romance. However, from the mid-60s, female characters were no longer just orphans or bargirls; they were also business owners, spies and single mothers. Moreover, male characters were no longer always privileged. They could likewise be powerless or in distress. These romantic films softened the nation’s conservative tone and helped play a part in the modernization of Taiwanese society.