@ClumpingBambooIsALie I've always thought the reason people 'enjoy' the sadness that comes from crying over the emotional bits in movies and TV programmes (and also books, too, I guess) is sort of related to the same reasons some people enjoy being frightened shitless by scary horror/supernatural movies - it's a 'safe' way to get an emotional fix.
We're emotional creatures, but a lot about modern life - and most especially in developed countries, where we don't have to try to hard for anything related to basic survival - has sort of done away with the dramas, stresses, frights and upheavals of daily life. I suppose it's the same sort of reason, albeit it in a slightly less physical way - of bungee jumping or white water rafting. We're seeking something that's going to remind us of a pretty basic element of being human - the ability to feel sadness, pain, fear or some other 'negative' emotion because our daily lives are, by and large, free of those things.
I think it's an indication that many of us need a bit of balance in the things we feel - maybe we get twitchy if we feel 'too happy' or even just on a even keel, with no real ups and downs - for too long. So many people say a good ol' cry is cathartic, so I think, perhaps, watching a movie that makes us blub is one way of getting a cathartic fix, in a controlled and measureable way.
For my money, the ending of 'Bridges of Madison County' made me wail like a baby. So beautifully, perfectly restrained - flawlessly acted by the irreplaceable Meryl Streep. The fluttering of her hand to the car door handle and the wavering moment between one life and another - a precipice of choice. I got goose bumps and a welling feeling in my chest just typing that!
The scene in 'Twelve Years a Slave' where the slaves gather for the funeral of the eldest among their number after he dies on the cotton field affected me more than anything else I've seen, cinematically-speaking. I wrote a blog post about it and thought of it for days and days after seeing the movie for the first time. Chiwetel Ejiofor did something truly incredible there - and he didn't even need any dialogue to do it.