This study looks into the early films of Bai Jingrui and discusses how Bai's work can be explored in the context of a re-examination of Taiwan's Mandarin-language film. The modern aesthetics Bai experimented with in his urban films brought forth the visual emergence of Taipei as the city center of Taiwan. Bai's early films - such as Lonely Seventeen (1968), The Bride and / (1968), Accidental Trio (1969), and Home Sweet Home (1970) - initiated the features of an emerging middle class onto the screen, affirming modern romance and an evolved sense of family in the forms of urban comedies and family melodramas. The urban sensibility Bai displayed in his early films later contributed to the middle class sense of romance in the Qiong Yau films of the 1970s. With his Goodbye Darling (1970), Bai tried to inject a realist sensibility into Taiwan's film scene, which did not catch on in the 70s but was later given full expression in the early 1980s by a group of films we now identify as Taiwan New Cinema.