Where some might see this as a positive: Gilda and Johnny are now equals and will live happily ever after, others might see this as a rather depressing sign of Stockholm Syndrome. Gilda ends her life with her abuser. This film is a Hollywood melodrama and ends with a “happy ending” to comply with puritanical conventions. Family values ​​are important: Gilda and Johnny will likely raise their children together, which makes this film a typical “women's picture”: “usually domestic melodramas that emphasize a female star and focus on typically feminine concerns such as winning (or keeping) ) a man, raise children” (Giannetti 477). The carnival is over, things are back to normal. The Hays Code, which classified every film made in that period, would not have allowed anything different. The men save the situation: Uncle Pio kills Ballin and it is the policeman who tells Johnny that he can now love Gilda. Johnny must receive confirmation of Gilda's faithfulness through another man. Gilda is unfortunately “not some sort of heroine of modernity” (Doane 2), but she finally falls into the category of a woman whose manipulative moves were not made to gain freedom but to be loved by a man. This is normal for a woman of that period. Hollywood films were propaganda tools for the American government that wanted to show normality and demonstrate “American-ness.” They wanted to praise the American way of life as a model to follow for the rest of their lives