->''"Rose tint my world. Keep me safe from my trouble and pain."''
-->- '''[[Film/TheRockyHorrorPictureShow The Rocky Horror Show]]'''

The Romantic movement of the 19th century was a style of art that stirred the emotions, like sadness, joy and nostalgia. Later, some people used that style to put things they favor in an idealized manner, even if such things were already seen as positive.

The subjects of these works could be people, places, events, ideologies or other things. Although these are only occasionally accurate to the facts, they can still make for great stories. If taken too far, on the other hand, they can make their subjects into {{Mary Sue}}s or {{Mary Suetopia}}s.

Note that this isn't about just trying to make something look good, or make it look exciting. It's about stirring the emotions, not just pumping the adrenaline.

May lead to ThePiratesWhoDontDoAnything if part of the romanticizing requires the people to not do the evil parts of the job.

Compare TheThemeParkVersion, PoliticallyCorrectHistory, HistoricalHeroUpgrade, HistoricalVillainUpgrade.

Contrast {{Demonization}}.
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!!Examples:

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[[folder:Anime and Manga]]
* ''SpaceBattleshipYamato'' does this for ImperialJapan, with the interesting workaround that it takes place in TheFuture where the protagonists must fight against hostile aliens, because no decent person could ever do a rose-tinted narative about the ''actual'' [[MoralEventHorizon WWII-era Japan]]. Co-creator LeijiMatsumoto is admittedly heavily influenced by the 19th century Romantic writers & artists.
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[[folder:Film]]
* ''Film/{{Braveheart}}'', portraying William Wallace and the Scots as strong [[CloserToEarth earthly]] [[NobleSavage noble]] types, and the English as monsters who all have perms.
* ''Film/TheGodfather'' has often been accused of romanticizing the Mafia (not the violent parts, but other parts of the movies).
** ''{{Goodfellas}}'' and ''{{Casino}}'' could be {{deconstruction}}s of this kind of portrayal.
** For that matter, ''Godfather Part II'' was a pretty thorough {{deconstruction}} of the notion of Mafioso-as-hero. [[spoiler: Vito never chose to be a gangster, but was forced into it and never wanted his sons to follow him. Michael's criminal actions cost him his family. At the end of the first movie it's possible to see Michael Corleone as a hero: by the end of the second he's merely a ''[[IncrediblyLamePun coglione]]''.]]
* ''ThreeHundred''. Notably, the way in which the Spartans were [[HistoricalHeroUpgrade beatified]] as ultimate badasses and the Persians were [[HistoricalVillainUpgrade vilified]] as subhuman monsters had some [[UnfortunateImplications deeply racist undertones]], given the current tension between the West and the Middle East.
** [[WordOfGod Word of]] [[FrankMiller God]] is that a lot of that is in-universe propaganda, due to the UnreliableNarrator.
** There's also the pederasty and slavery : the latter is not mentioned at all, and the Spartans ''mock'' the Athenians for their practice of pederasty, which existed in Sparta at the time as well.
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[[folder:Literature]]
* ''GoneWithTheWind'', especially the film, romanticizes the antebellum United States South. For that matter, just about every form of media regarding that era made in the South, due to [[EnforcedTrope many people in the South not being that far removed from the War or Reconstruction]]).
** MarkTwain's ''TheAdventuresOfTomSawyer'', and, to an even greater extent, ''Adventures of Huck Finn'', are the work of an author trying to reconcile his nostalgia for the old South with his knowledge that slavery is bad.
** ''Literature/ARoseForEmily'' is a particularly disturbing allegorical {{Deconstruction}} of this trope being applied to the antebellum southern US.
* In Creator/RudyardKipling's "Literature/TheThreeDecker", this is part of his description of the three-volume novel.
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[[folder:Theater]]
* Andrew Lloyd Webber and Tim Rice were accused of doing this with ''{{Evita}}''. And they were bashed by certain political sectors in Argentina for not doing it enough.
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[[folder:Real Life]]
* The documentary ''The Revolution Will Not Be Televised'' portrayed Hugo Chavez as a martyr during his near-ousting.
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