Seven Deadly Sins Connection Fans Got Lost on Gilligan’s Island

There are many ways to interpret Sherwood Schwartz’s 1964 sitcom “Gilligan’s Island.” Author Paul A. Cantor once wrote in his 2001 book “Gilligan Unbound: Pop Culture in the Age of Globalization” that the series presents an idealized version of American democracy. Cantor’s thesis noted that the show’s seven castaways all came from different American backgrounds (there were two millionaires, a professor, a farmer, a couple of soldiers and an artist) but when they were forced to live together on a desert island, they became They made friends quickly. Not only that, but they also prospered. Schwartz was said to have confirmed Cantor’s thesis in an obituary printed in the Washington Post.

Many (including this author) see an element of Sisyphus in “Gilligan’s Island.” Each episode begins with hope. Often, a new person or object washes ashore, offering the castaways a chance to escape. However, the opportunity is constantly wasted, often by Gilligan’s clumsiness. Each episode subsequently ends on a note of despair, with the seven castaways lamenting their inability to leave the island. Gilligan is almost a cosmic being, a holy fool designed to unwittingly offer punishment to those around him. “Gilligan’s Island” takes place in a cartoon world bleakly sustained by hopelessness.

There is also a fan theory, one that often appears in casual analyzes of “Gilligan’s Island,” that the seven stranded castaways are being cosmically imprisoned on Gilligan’s Island because of their sins. In fact, because there are seven, one could quickly observe that each of them could be emblematic of the Seven Deadly Sins. Although Sherwood Schwartz considered “Gilligan’s Island” to be a perfect democracy, He also admitted to NPR in 2008. that each character did indeed have a sinful flaw derived from the Seven Deadly Sins.

In the NPR summary, Szhwartz was specific about which castaway represented which deadly sin. The professor (Russell Johnson) was experienced, but often let his knowledge give way to pride. The millionaire Mr. Howell (Jim Backus), because he hoarded wealth, was Greed’s useful avatar. Although not outwardly sexual with any of her fellow islanders, Ginger (Tina Louise) was often flirtatious and libidinous, making her the avatar of Lust. Mary Ann, a simple country dweller, often expressed envy when she looked at her fellow castaways. According to Schwartz, it was Mrs. Howell (Natalie Schafer) who was most often angry and impatient, giving her the mantle of Ira. Actor Alan Hale was not allowed to lose weight while playing Skipper, implying that he was Gluttony’s avatar. And of course, the hapless and unmotivated Gilligan (Bob Denver) was Sloth’s manager.

This is a fun theory, although it doesn’t have much credence with Mrs. Howell. Mrs. Howell was not an angry character; She was funny for her disorientation and lack of class consciousness. He might have been guilty of Pride or Greed, but not Wrath. If anything, Skipper is the angry character, often losing his patience with Gilligan and hitting him with his hat. Also, the Captain may have been fat, but he never expressed much gluttony. Maybe there were no gluttons on Gilligan’s Island and two avatars of Greed.

If one wanted to convert the theory of the seven deadly sins into more general theories about the tragic flaws of ancient literature (called Hamartia in Greek drama), perhaps this interpretation would work better. Perhaps all the characters show doubt about their ability to escape or arrogance in their supposed mastery over the elements; they didn’t do it have to make that three-hour journey. However, tragic flaws usually only come from tragic figures, and the “Gilligan’s Island” crew are all comedy characters.

If we talk about comedy characters, then Minnow’s survivors are not deadly sins or tragic heroes, but rather archetypes of centuries-old traditions of Commedia dell’Arte. Comedy, for those who have not yet studied it, typically employed a limited number of stock characters for its stories, and said characters generally wore the same costumes and/or masks from one production to the next. The most famous Comedy archetype is Arlecchino, a clumsy clown. His name would eventually be translated as “Harlequin.”

Gilligan is clearly Arlecchino. The Captain, meanwhile, fits Scaramuccia’s swaggering military mold. Mr. Howell, a wealthy older man, is clearly Pantolone, and the professor, a scholarly fellow, is Il Dottore. Ginger could be Gianduja, although she is a peasant character who usually drinks too much. Unfortunately, there is no “movie star” equivalent in Commedia. Mary Ann, however, fits the role of Columbiana very well, a cheerful, maiden-like figure. Mrs. Howell, being a counterpart to Mr. Howell, is simply a secondary Pantolone.

However, true scholars of Italian theater may want to contribute their own theories.

There’s also the postmodern interpretation of the characters as presented in Tom Carson’s ambitious 2003 novel, “Gilligan’s Wake,” which gives each of the castaways elaborate and often very tragic backstories. Gilligan was mentally ill in that performance. Mr. Howell was guilty of many crimes and Mrs. Howell barely tolerated her husband. Ginger had had secret affairs with well-known celebrities, while Skipper had lost friends in combat.

That there are so many theories about “Gilligan’s Island” is simply a testament to how deeply the show has penetrated the mass consciousness. Will live forever.