In this blog post, we explore why melodramas centered on love become mirrors reflecting humanity’s most primal emotions and the essence of life, and why we are drawn to this genre.

What is ‘melodrama’?

I believe the starting point of this article lies in first clarifying the very concept of what the melodrama genre signifies. When people hear ‘melodrama,’ they typically conjure certain images: the heartrending love story of a male and female lead, a sorrowful parting, and love beginning anew. These recurring elements often lead people to perceive melodrama as simply sentimental films or sentimental popular dramas. Of course, this understanding isn’t entirely wrong. After all, the melodrama genre is often translated into English as ‘romantic movie’. Regardless, I wanted to understand more clearly what melodrama precisely means, so I looked it up in an encyclopedia.
The dictionary explained that “melodrama” originally combined the Greek words “melos” (meaning “song”) and “drama” (meaning ‘play’), forming the term “melodrama,” which evolved into the “melodrama” film genre we know today. Indeed, the origin of melodrama is said to lie in the theatrical practice of briefly pausing dialogue to play music, signaling the protagonist’s entrance or exit. In other words, the very beginning of melodrama stemmed from this form combining music and dramatic situations.
We’ll examine the history of melodrama in more detail shortly. To summarize melodrama as a film genre, it refers to a type of film that provides audiences with sentimental appeal and emotional thrills while featuring somewhat sensational and formulaic plots. While this definition may seem somewhat difficult, in my personal view, regardless of how melodrama is defined, it can ultimately be defined as a genre that drives its story through the medium of love.
The drama genre presents a format where characters within the story experience various conflicts and obstacles, resolve them, and progress toward their desired goals. This structure is already systematized as a form inherent within the screenplay itself, and in that sense, drama can be considered a fundamental element of film. Therefore, melodrama—what we call a melodrama film—can be considered a subgenre of drama, and romantic comedies, commonly perceived as melodrama films, can likewise be seen as another subgenre within this melodrama category.
Let’s look at a specific example. The film “The Scent of Chrysanthemums,” starring Park Hae-il and the late Jang Jin-young, is a classic melodrama. This work appeals directly to the emotions, deeply drawing out the audience’s feelings through love and subsequent separation. It possesses a power that makes it impossible to stop your heart from aching and your eyes from welling up while watching. In contrast, looking at a representative romantic comedy like “Bridget Jones’s Diary,” the love and separation between the protagonists are depicted in a relatively lighthearted atmosphere. Romantic comedies do not center on death or tragic separations. At least, none of the romantic comedies I’ve seen so far ended in tragedy. Romantic comedies, which combine a melodramatic core with lighthearted humor, have firmly established themselves as one of the most beloved subgenres of melodrama today.
Furthermore, melodramas can also be subdivided based on the object of affection. When centered on familial love, it can be called a family drama; when depicting same-sex love, it can be categorized as queer melodrama. In other words, the genre’s detailed classification is possible based on where the primary romantic storyline is formed.
Ultimately, I define melodrama as a film genre that starts with the emotion of love as its foundation, where the story’s core is centered on the protagonist’s romantic troubles. Reflecting the human psyche through the emotion of love, and unfolding the narrative along the amplitude of that emotion—that is the essence of melodrama as I understand it.

The History of Melodrama

Now, let us examine the path the melodrama genre has walked. I have considered its history, referencing John Mercer’s book “Melodrama.” First, the roots of the melodrama genre are thought to lie in France. As mentioned earlier when explaining the concept of melodrama, its origins lie on the theatrical stage. Subsequently, melodrama is said to have developed under the influence of Jean-Jacques Rousseau’s play “Pygmalion” (1762). Gilbert de Piscerecourt is cited as the pioneer and champion of 18th-century French melodrama, which combined music, song, and elaborate stage effects.
Later, Thomas Hall Croft translated Pixerecourt’s works, such as “Toelina” and “The Mysterious Tale,” into English and staged them in Britain. This can be seen as the catalyst for the melodrama genre truly taking root in Britain. This occurred in the early 1800s. Born in France and developed in Britain, melodrama gained immense popularity as a form combining music, song, and dance within theater, and was continuously performed.
Entering the 19th century, the emphasis on music and song within melodrama gradually began to diminish. As the theater established itself as a professional cultural space, melodrama also solidified its position as a distinct genre. Subsequently, melodrama spread to America, and a variety of works began to appear in succession. In the early 20th century, as theater evolved into more sophisticated and complex forms, the popularity of melodrama waned for a time. However, with the advent of the sound film era, it regained the public’s interest.
During this period when the medium of film was becoming fully popularized, the film industry targeted female audiences, who were the mainstay of consumer culture. Consequently, numerous films were produced featuring female protagonists prominently or constructing narratives centered on romantic relationships. These works were grouped and referred to within the melodrama category. In other words, narratives centered on love and emotion, intertwined with the expansion of the film industry, led to the revival of melodrama.
A representative figure of early film melodrama was D. W. Griffith. He established the melodrama narrative framework through films like “Broken Blossoms” (1919), starring Lillian Gish, often called the first on-screen lover; “Hearts of the World” (1918); and “Orphans of the Storm” (1921). His works, characterized by exaggerated emotion and moral conflict, profoundly influenced the formation of the melodrama archetype.
By the 1950s, melodrama had diversified into various subgenres. Specific genres like family melodrama, crime melodrama, and psychological melodrama emerged, broadening the genre’s spectrum. Douglas Sirk stands out as a figure who deepened melodrama’s aesthetics during this period and demonstrated its subversive potential.
Through films like All That Heaven Allows (1955), Written on the Wind (1956), and Imitation of Life (1959), he built a body of work known as ‘Gothic melodrama’. Sirk’s films, while employing vibrant colors and an excess of emotion, revealed the fractured human condition and a social structure riddled with contradictions beneath the surface, thereby imparting new depth to the melodrama genre.
Within Korean cinema history, melodrama also demonstrated a distinct presence from its earliest days. Melodramatic elements were already strongly evident in works based on classical literature, such as “The Tale of Janghwa and Hongryeon” (1924), “The Tale of Unyeong” (1925), and “The Tale of Chunhyang” (1935). Later, films like “Marriage Story” (1992), “Mr. Mama” (1992), “Dr. Bong” (1995), and “My Sassy Girl” (2001) gained immense popularity as romantic comedies. Amidst the overall dominance of romantic comedies, works closer to traditional melodrama, such as “Connection” (1997), “Letter” (1997), ‘Promise’ (1998), “Spring Days Are Gone” (2001), and “Classic” (2003), also appeared steadily.
While researching the history of the melodrama genre, I was particularly struck by the fact that it originated from a theatrical form centered on dance and song—not dissimilar from today’s musicals. Though its beginnings differed significantly from the melodrama format we recognize today, through centuries of evolution and diversification, melodrama has firmly established itself as a globally beloved film genre. The historical trajectory feels all the more meaningful when considering how the melodrama that once resonated with music on the stage now connects through the emotions of characters on screen, touching the hearts of audiences.

Today’s Melodrama Films, and Why I Love Melodrama

Perhaps the discussion so far has leaned somewhat toward theoretical explanation. However, the most crucial point in this piece is likely my personal perspective on how I view the melodrama genre. Once upon a time, the film “Architecture 101,” classified as a classic melodrama, topped the box office charts and caused a major stir. Despite tackling the relatively familiar theme of first love, it succeeded in eliciting generational empathy. People around me often ask why I enjoy watching melodramas so much, questioning what makes such predictable scenarios so special.
But melodrama isn’t merely a genre composed of clichéd love stories. Within it, the full spectrum of human emotions—joy, anger, sorrow, and pleasure—are intertwined. Joy and sorrow, excitement and loss, hope and disappointment are all intertwined, stimulating the audience’s emotions and sometimes providing catharsis. Romance is a genre that maximizes the amplitude of feelings.
Looking back at the romantic films that defined their eras throughout history, the core characteristics of this genre become clearer. A defining characteristic of melodrama is that its narrative unfolds around the intensely subjective and personal conflicts of its characters. While other genres often require the audience to maintain a certain distance and an observational perspective, melodrama actively demands emotional immersion. I find myself deeply absorbed in the emotions of the characters on screen, feeling as if I am them.
For instance, when the seemingly impossible love between a female lead raised in difficult circumstances and a male lead who has everything finally blossoms, I find myself smiling. Like a girl dreaming of Cinderella. Melodrama offers unrealistic fantasies, yet conveys those emotions as vividly as if they were real.
“Architecture 101” was also a work possessing that power. Despite tackling the potentially clichéd theme of first love, it resonated with many because the romance genre naturally draws audiences into the story. Viewers recall forgotten memories of their own first loves amidst busy daily lives, becoming immersed in a bittersweet nostalgia. Sometimes, without even realizing it, they identify with the characters, experiencing a sense of reliving their own past.
I have no intention of disparaging other genres. Action films deliver thrills and speed, horror films provide tension and fear. Simple comedies offer laughter, suspense creates urgency. Yet in those genres, one often remains merely an ‘audience member’. Melodrama, however, pulls me right into the heart of the story. The protagonist’s emotions on screen become my own.
Love is an emotion inseparable from being human. We live experiencing love, whether we like it or not. Yet real-life love doesn’t always lead to a happy ending. Despite this, I find vicarious satisfaction through melodrama. Even if the ending is tragic, I confront my own wounds and emotions within it. Melodrama isn’t mere entertainment to me; it’s a pathway to self-reflection. That’s why I love melodrama. I believe melodrama isn’t a genre consumed solely with the eyes; it’s a film you watch to have a conversation with yourself.
Here, I’d like to briefly mention two Japanese melodramas: “Love Letter” and “Josee, the Tiger and the Fish.” Both films have been beloved in Korea for a long time. These films aren’t merely tearjerkers; they possess the power to awaken sensitivity. Melodramas contain an emotional force that moves the heart.
Not only works with tragic endings like “The Scent of Chrysanthemums” or “Atonement,” but even lighthearted romantic comedies share the essence of melodrama. Romance films offer an emotional resonance unattainable in blockbuster disaster movies. Of course, criticism exists that romance films repeat tired structures. It’s pointed out that only the protagonists change while the basic framework remains the same. However, considering that blockbusters, action, and horror films also share certain dramatic structures, this is hardly a weakness unique to romance.
As a genre dealing with human affection, romance inevitably possesses a certain universal structure. That universality can be a weakness, but it also becomes the genre’s strength. Even within the same framework, each work reveals its own unique character.
Love in melodrama is always serious. Even in romantic comedies, love itself is never treated lightly. Films like “Love Letter” and “Josee, the Tiger and the Fish” capture the complex human emotions that make starting or ending love so difficult. Films like “Penelope” or “500 Days of Summer” make us question the philosophical meaning of love.
Today, love sometimes seems to be consumed as quickly as fast food. Relationships start lightly and end easily. It’s bitterly true that I, too, am not entirely free from this prevailing zeitgeist. Yet, after watching a melodrama, I am reminded once more of the essence of love. I realize that love is not merely a simple emotion, but a crucial axis that constitutes human existence. That is why I love romantic films.
Romance usually culminates in a happy ending or a tragic conclusion. Yet, the journey leading up to that ending is what matters most. The moments of fluttering hearts, conflict, reconciliation, and misunderstanding before the emotion of love is fully formed shine brightly in their own right. Scenes of romance tinged with pink warm the heart.
Finally, melodramas carry emotion. Emotion is “a profound feeling that moves the heart.” “The Blind Side,” “If Only,” “Spring Days Are Gone,” and “Titanic”—which I consider the greatest masterpiece of my life—all deliver emotion and tears to the audience. Everyone has different criteria for choosing movies. Some seek simple entertainment, others look for dazzling visuals. But I feel that a movie without emotion leaves a void.
After watching a romance, no matter the ending, my heart feels full. And for a while, I can’t easily escape that feeling. Watching a story on the screen, not reality, makes my heart flutter, tears flow, and I laugh along. In today’s busy world where it’s easy to lose oneself, I reconnect with my true self through melodrama. And in that moment, I become a little purer.
That’s why I love melodrama.

In Closing

So far, I’ve broadly revisited what the melodrama genre is, the historical process through which it developed, how it exists today, and the impact it has on me. In organizing this essay, I found myself reflecting deeply once more on the power of melodrama. It was a time not just to analyze its genre characteristics, but also to ask myself why I am so drawn to this genre.
Perhaps it’s not just because it’s melodrama; maybe I seek out films because I want to discover another version of myself. And perhaps that’s why I’m studying and writing about film in the first place. Movies make possible things that are difficult to happen in reality. The stories unfolding on the screen resemble our lives, yet simultaneously show us worlds we cannot easily experience.
Lately, I often find myself pondering the reason for my life. Of course, people around my age are likely living with the same question. From the moment we are born until we close our eyes, we live within the structure of society. We hold jobs, dream of stable lives, and spend each day imagining what we each consider the ‘best life’. Step by step, we move toward the end. Yet, in the fast-paced whirl of daily life, I often miss the chance to truly reflect on who I am and what emotions I carry within me.
Perhaps I am finding that opportunity through the film genre of melodrama. Melodrama centers on love, humanity’s most primal emotion. It lays bare the deepest parts of human beings through love, without reservation. Within it reside not just fluttering hearts and sorrow. Emotions of understanding and acceptance, waiting and forgiveness, wounds and healing coexist. We cry and laugh alongside the characters on screen, discovering our own reflections within their feelings.
Thus, melodrama can be seen as the distillation of human life’s joys and sorrows. It is a genre that explores the essence of human existence through the lens of love. As someone who loves and cherishes film, and as someone who studies it, I believe in the potential of melodrama. I believe it is not merely a sentimental genre designed to elicit tears, but one that possesses the power to reawaken human sensibilities.
I hope that the melodrama genre will continue to touch the hearts of more people in Korea and around the world. I wish for it to be reborn as a genre that reawakens dulled emotions and prompts reflection on one’s own life. I, too, want to keep facing myself through melodrama and discover another side of myself.
As I conclude this blog post, I once again engrave in my heart the quiet yet profound resonance that melodrama possesses.