Researching the Robinsonade: “The Slave Ship,” a Forgotten Episode from the TV Series, The Swiss Family Robinson
The Swiss Family Robinson,
signed by Sal Salkowitz,
received May 29, 1975
#6820
Box 83 Folder 8
Good triumphing over evil. Right versus wrong. Americans tend to have strong opinions on ethical and moral dilemmas. Stories like Robinson Crusoe are popular because of their adventure and made into movies each year. Television series in the 1970s, like The Brady Bunch and All in the Family¸ were popular because of the strong family values and their situational comedies (sitcoms). The Swiss Family Robinson is one such series, created by Sal Salkowitz, which aired on ABC from 1975-76. There are twenty episodes, all of which are now held in the Archives at University of Wisconsin – Madison. The rough draft of “The Slave Ship” is neither available on YouTube, nor does much information regarding the eighth episode of The Swiss Family Robinson seem to exist. A Robinson Crusoe-like family shipwrecked on a tropical island, forced to adapt and become closer than ever; how could this series only last one year? Why is this show, specifically this episode amongst the others, hidden away in the Archives? One of the reasons may be that “The Slave Ship,” written by Dale Eunson in 1975, features white supremacists as leading, victorious roles during an important time for the United States: the Civil Rights Movement.
Originally, Johann Wyss’ famous 1812 novel, Swiss Family Robinson, was inspired by Daniel Defoe’s Robinson Crusoe. Swiss Family Robinson, the novel, then inspired a film and this television series. The best-selling novel Robinson Crusoe was written in 1719, and anything produced after that with similar characteristics is classified as a “Robinsonade.” The Swiss Family Robinson is considered to be a “Robinsonade” because of its heroism, adventure, tropical location, and portrayal of religious/ethical/moral dilemmas. The father, Karl Robinson, is the male lead of the show, and enters seamlessly into the role of feigned hero alongside Jeremiah, the stranded sailor most resembling a Robinson Crusoe character. Neither truly personify Crusoe entirely, but together, they form the almost heroic “everyman.” However, just as Crusoe was not a true super hero, but rather, simply a fated, proud man, the men portray aspects of humanity that can only be addressed in adventurous or dramatic moments in life.
In the beginning of the episode, Captain Mantle steers his ship to the desolate island the Robinsons are coincidentally stranded on, claiming, “… some big apes are almost human… seem to hate captivity more than briny,” (Eunson 9). As he says this, the scene follows Karl’s son, Fred, as he discovers Jama, an escaped, manacled slave, presumably from the slave ship Captain Mantle insists carries anthropoids. Today, viewers would hopefully recognize this as blatant and horrifying racism, but in 1975, how many Americans would see it this way? At this time, the country was still divided throughout the country. By giving this character such a prominent role in the script, the writer is giving the character (and his voice) power. Mantle goes on to say, “Actually, they are little more than clever, scheming animals… I have dealt with Negroes for many years,” (Eunson 24) illustrating that he must be an expert.
When Karl’s wife Lotte, and his adopted daughter Helga, who are both m
ainly seen in their island kitchen cooking, contend that Captain Mantle is dangerous and morally and ethically wrong, Karl makes them apologize. This portrays ignorance for equal rights for both People of Color and women. What supports this claim are the inconsistencies of the series, especially shown in this episode. The clothes, the tools, and the language spoken by the Robinson family are modern 1970s, rather than eighteenth century. This illustrates a combination of current and past qualities of “Robinsonades.” It is a juxtaposition of modern concerns. How then are viewers supposed to not assume that a modern family, using modern equipment, is not also speaking of current issues in the world and taking a stand?
The ambiguity in right versus wrong, according to what this sitcom portrays, makes it difficult for viewers to adjust their stance accordingly. The moral dilemma creates uneasiness. Americans watch other American-like families – good, wholesome – actually not taking a stand against the evils in the world. Because of when it was written, who knows if the script was shaped this way to illustrate a lack of hope for freedom from slavery in the writer’s mind, the viewers’ minds, or just strictly aligned with the ways of slave trading in the eighteenth century? There is no proof one way or the other; the answer lies in the ambiguity of the writer’s intent. Karl asks what one lone man can do against the slave trade, and inevitably does nothing to prevent Jama from going back to slavery. The American Civil War was fought in 1861-65. Just over 100 years later, The Swiss Family Robinson, which should have been taking a stand for equal rights for People or Color and women instead shows that the average, caring, honest (American) family can do nothing against the evils of the world.
Being a first draft of a television series script, not every written aspect was revealed on screen. The writer, Eunson, often typed “The Black” instead of Jama where lines weren’t being read by actors, instead conveying a message directly to them. Eunson creates scenes with certain emotions and moods. His use of word choice conveys a message also that will be lost without being shown to the public. Some of the language Eunson used other than “anthropoid” directly related to Jama: Jama walks “fatalistically,” which designates his own self-awareness and lack of hope; he’ll hide in the “grotto,” which sounds like ghetto (radically forming in the United States in the 1970s and 80s); Jama “wolfs” his soup, portraying once again very animalistic qualities. Also, what Fred saw on the slave ship during his brief abduction by Captain Mantle was explicitly not discussed as it was too awful to imagine. So Americans, who have been familiar with the idea of slavery and lack of acknowledgement of humanity in Peoples of Color by White Euro-Americans for hundreds of years, now witness on television that the nation is too uncomfortable with the horrors of slavery to discuss them publicly but is still acceptable of standing a certain distance away from the trouble and claiming it’s immoral. Once again, no single person, or family, can do anything to help.
Karl Robinson and Jeremiah are feigned heroes, while the real hero is the fatalistic Jama, who bravely gives his life to save the young child Fred from death at the hands of Captain Mantle and the sea. Jama’s role in the episode is the source of religious/moral/ethical dilemma for the characters. He makes them question their desires and what they think they know to be right. As a television series, “The Swiss Family Robinson” does nothing to eliminate the gap between “us” and “them.” Jama, the hero, sells himself back to slavery, and the Robinsons are left on the island. There is no good triumphing over evil. The bad guy wins in the end. The strong, unashamed racism without a way of overpowering it is a serious possibility in why the episode is hard to find and not something to be proud of.
Hyperlinks Used
http://digicoll.library.wisc.edu/cgi/f/findaid/findaid-idx?c=wiarchives;view=reslist;subview=standard;didno=uw-whs-us0141an;focusrgn=C01;cc=wiarchives;byte=406899643
http://www.britannica.com/EBchecked/topic/505802/robinsonade