This paper studies three Taiwan Mandarin films to highlight three faces and approaches to Chinese wenyi pian. The Winter (1967), Goodbye Darling (1970), and Outside the Window (1973) are, respectively, works of Li Han-xiang, Bai Jing-rui, and Song Cun-shou. Each film at its time of release was met with lukewarm, if not "absent," response; but today these films are considered to be classics in Taiwan cinema. This study looks into The Winter as a wenyi melodrama to bring out its diasporic sentiments, then places Goodbye Darling in the context of cinematic realism to showcase Bai Jing-rui's aesthetic efforts, and finally examines the reserved style in Outside the Window to reevaluate Song Cun-shou's contribution to the 1970s' Qiong Yao film genre. These films, all adapted from literary works, demonstrate the diverse styles of wenyi pian in an era when Healthy Realism (wholesome realism) ruled supreme.