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The purpose of this paper is searching for themes of feminism and fatalism in the open closure in Eugene O’Neill’s Anna Christie. This play, a sentimentalized depiction of the rehabilitation of a prostitute, appealed to contemporary audiences because of its “happy” ending. But the audiences failed to grasp O'Neill's intention since he had considerable difficulty formulating his goal while writing the play. In Anna Christie, “double vision” for the ending operates somewhat differently, which prepares the viewer for two very different conclusions. Throughout the play, and most emphatically at its closure, Anna's projection of happiness appears to conflict with Chris's foreboding of doom. Anna affirms her own capacity to structure her life and makes a militant assertion of feminism. Chris, Anna's father, insists that all their fates will ultimately be determined. Therefore, the inconclusive ending represents the perpetual dilemma of the artist: how to bring a work to a satisfying conclusion without being false to the boundless nature of human life. Nevertheless, the unexpected conclusion indicates that open endings are adequate per se because open-ended works can also attain effective closure. In strong contrast to the happy resolutions generally associated with comedy, “open endings” are suitably used in connection with the somber view that humans are essentially alone with their responsibilities in a complex world.