Abstract
The article uses the concepts “chronotope” and “The End” to study the white comedies with the Argentine actress Mirtha Legrand. A model of women as guardian angels of marriage is proposed in them. However, in order to be that “angel” women must sacrifice their youth, give up their pleasures or hide their intelligence, as the love idyll is only possible within traditional marriage. The fact that these films were very much exhibited in Spain between 1949 and 1950 shows the extent to which Latin American culture went through a patriarchal conception of gender roles at the time. Despite this, the filming of La casta Susana (The Chaste Susana) in Argentina and its ban in Spain reveals how only in close-off societies, such as the pro-Franco society, that conception is the only possibility.
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