This document outlines several conventions of romantic tragedy movies. Such movies typically center around a romantic conflict between a couple struggling to unite or stay together, often ending in tragedy. They appeal to viewers through the dramatic emotions expressed by characters. Major obstacles blocking the couple usually involve social classes, illness, or cultural/economic/racial differences. Examples given include Devdas, Ek Duje Ke Liye, and Dil Se. Additionally, the introduction of a third lover often creates drama, as seen in films like Sangam and Ham Dil De Chuke Sanam. A moving soundtrack and songs are important aspects in setting mood. Dialogue sometimes unintentionally predicts tragedy. Sacrifice is also a common theme, where a character hides illness

1. Conventionsof RomanticTragedy
 A RomanticTragic Movie isa genre thatcentersitsnarrative actionon a romanticconflict.The
representationof aromanticdrama mainlytendstobe a solemnandclear-cutcharacterstudy
of a couple strugglingtounite orstaytogether,oftenendingwithtragicordownbeat
circumstances.
 The appeal of the romantictragedyisfrom the dramaticrealityof the emotionsexpressedby
the characters. Since the viewersare saferinthe lucksofar, the contrasting tragedyof the
characters inthe movie tends tomake themvalue theirpresence andlove theirlovedoneswho
are otherwise takenforgranted.
 In mostromanticmovies,obstaclesblockingthiscouplingusuallyfallintoone of several
categories.These include social obstaclessuchasthe couple’sclass,anillness,andcultural,
economicorracial differences.
 The loverscaughtin these circumstancesare thereforeviewedastrappedbyfate andmustfind
a way to overcome greatodds,if capable.Examplescanbe – Devdas, Muqaddar Ka Sikandar, Ek
Duje Ke Liye, Dil Se, KaagazKePhool,QayamatSeQayamatTak,Ishaqzaade,Guzaarish,Kites,
 Anotherconventionof aRomanticDrama isthe threat of anotherlover,whichiscommon
formula,withthe "romantictriangle"plotacting asthe prime example.Inthese scenarios,one
or both partsof the couple eitherfindorare threatenedbyanotherlove interest.(Sadma,
Tohfa,Mang Bharo Sajana,Sautan,Aashiqi2,Sangam,Andaz,Sagar,Deewana,HamDilDe
ChukeSanam)
 A movingandemotional soundtrackisanimportantaspectof thisgenre as the directorhelpsto
create moodand emotionsimplythroughthe soundtrack.The songisplayedintragicnote at
the endas dramatic irony. (Papa kahetehaibada naamkarega…)
 One songsung by the couple isplayedfrequentlyinthe movie capturingdifferentmoodsand
emotions.
 A dialogue spokenbyeitherheroorheroine ininnocence predictingpossible tragedywhich
ironicallybecomestrue atthe end.
 One of the characters or bothhave sacrificingnature.Itoftenhappensthatthe heroor the
heroine comestoknowof the fatal disease theyhave andinorderto dissuade the advances
froma personwhomhe/she trulyloves,fake love show withanotherpersonismade.However,
truth ultimatelydawnsitself andthe heroorthe heroine acceptsthe otherthe wayshe/he is.
(Kalho na ho)
 There is‘yaddast’formulawhere the heroorthe heroine meetswithanaccidentandloses
memory.A newlife isstartedandthenthe twistinthe tale comeswhenthe oldlovermeets.
(Heena,Bandhan,Sadma)
 There are complicationscreatedsometimesbythe obsessedloverlikeinDhadkan,Daar,
Agnisakshi,Fareb,Dastak,Aitaraz)