This paper analyzes the two typical 1950’s Japanese literary melodrama, The Munekata Sisters and Portrait of Madame Yuki which deal with the heroine’s adultery, focusing on their male protagonists and the film criticism dominated by male critics. The male protagonists show the stereotypical “the feminine man” in Japanese melodrama of the 1930s, established by Ken Uehara who himself played leading roles in both films. However, their excessive feminization, influenced by Christian sexual morality under the American occupation, made them virtually “impotent” which led them to be criticized by male critics. Additionally, this paper argues that although both films have been categorized as women’s genre and thought to represent the inner minds of the women they targeted, they were possibly advertised and distributed aiming at male audiences simultaneously. Apparently, not only that they enjoyed these so-called women’s genre, they owned the rights to define and historicize the genre itself.