歷年有關張愛玲電影劇作的研究，多從女性主義或與好萊塢電影比較兩大方向入手，然而她對通俗劇模式的反思卻未見得到關注。張愛玲的電影劇作一方面採納通俗劇模式，另一方面卻以不同的「技巧」去逐步改變觀眾／讀者對這一模式的渴求。在過往的研究基礎之上，本文繼續思考的問題是，究竟張愛玲的電影劇本創作美學是怎樣的？她用什麼方法去平衡電影的娛樂性與思考性？本文的主要論點是，張愛玲的電影劇作具有一種特色，這種特色是她一方面採納通俗趣味去爭取觀眾，另一方面卻竭力破除當中的「媚俗」問題。本文將首先梳理中國早期電影採用通俗劇模式的情況，然後分析張愛玲一系列的電影劇作如何既採納通俗劇模式以吸引觀眾，又以不同的方法突破通俗劇的局限。

Over the years, research on Zhang Ailing’s works are predominately analyses from feminist perspectives or comparative studies with Hollywood movies. However, her reflections on the pattern of melodrama have received little attention. On the one hand, Zhang adopted the melodramatic structures into her movie scripts. On the other hand, she used different ‘techniques’ to change the audience’ expectation of the established pattern. Based on the past research studies, this essay proceeds to examine her philosophy of theatrical aesthetics. How did she balance between entertaining and provoking thoughts in her audience? It is noted that Zhang’s movie scripts are characterized with uniqueness. While following the common practice and using popular themes to attract audience, they strive to break away from the rhetoric of melodrama. This essay will first attempt to explore the traits of melodrama in early Chinese films. It then moves on to analyze how the melodramatic elements identified in Zhang’s movie scripts appeal to the audience and how those elements break through the conventional confines of melodrama.