The film follows a conventional heteronormative structure typical of 1960s adventure cinema. There is no evidence of non-cisnormative gender identities or same-sex intimacy.

Gender hierarchies remain strictly established. Sandokan drives the physical action, while female characters primarily serve as romantic interests or figures requiring rescue.

A Eurocentric lens is introduced by casting a white actor as the Malay hero. However, the film provides a platform for Southeast Asian actors in supporting roles.

The narrative utilizes an anti-colonial framework, positioning the British Empire as the primary antagonist. It centers the struggle of colonized people against imperialist structures.

There are no prominent depictions of physical or neurodivergent disabilities that serve as central narrative elements.