瓊瑤電影在1960、70 年代的台灣受到廣大群眾的歡迎，但卻被多數評論者被貶抑為脫離現實的逃避主義。本文認為李行與白景瑞兩位導演改編瓊瑤小說的影片與1970 年代其他導演拍攝的瓊瑤電影明顯不同。以《彩雲飛》(李行1973)、《心有千千結》(李行1973)、與《秋歌》(白景瑞1976)為例，這幾部影片雖然不是李行與白景瑞被歸類為健康寫實主義的影片，但是卻與中影在1968 年延續健康寫實製片路線所宣布的「健康綜藝」路線相近。三部影片雖然形式上屬於浪漫愛情片，但是實則保有「健康寫實」的精神，不能以「逃避主義」論之。這三部影片透過對於三位勞工女主主角（過於）完美的呈現頌揚勞動階級，同時以浪漫愛情故事包裝階級可輕易爬升的社會想像，正與1970年代初期台灣在工業發展進程中，政府鼓勵人民透過勞動生產脫離貧窮的主流意識型態不謀而合。

Qiong Yao films of the 1970s were extremely popular in Taiwan. But they are thought to provide nothing but escapist romantic fantasies. This misconception prevents scholars from perceiving a strong link to social reality in Qiong Yao films made by Lee Hsing and Pai Jingrui in the 1970s, especially The Young Ones (Lee 1973) and The Heart with a Million Knots (Lee 1973) and The Autumn Love Song (1976). This article argues that though the three films do not belong to Healthy Realism, a genre Lee and Pai are considered masters, they can be considered as films of its extended genre Healthy Variety (Jiankang Zongyi), which Central Motion Picture Corporation announced to be its main interest of production in 1968. Mainly due to these two directors, these three romantic films carry within them the spirit of Healthy Realism. The all too perfect working girls celebrate the working class. The illusion of easy social climbing disguised as romantic love story has strong ideological influence on the films' contemporary audience. To this extent, these Qiong Yao films speak loud for the government, which actively encouraged its working class to putting more time in production to get a better life.