{"id":953869,"date":"2026-08-14T22:11:22","date_gmt":"2026-08-15T02:11:22","guid":{"rendered":"https:\/\/thefrontiermanipur.com\/?p=25166"},"modified":"2026-08-14T22:11:22","modified_gmt":"2026-08-15T02:11:22","slug":"revisiting-the-godfather-family-power-culture-and-social-order-2","status":"publish","type":"post","link":"http:\/\/www.manipur.org\/news\/2026\/08\/14\/revisiting-the-godfather-family-power-culture-and-social-order-2\/","title":{"rendered":"Revisiting The Godfather: Family, Power, Culture, and Social Order"},"content":{"rendered":"
\"\"<\/div>\n

The Hollywood Classic film ‘The Godfather’ (1972) demonstrates that society is governed not only through formal laws and institutions but also through family, culture, social networks, informal obligations, and power relations.<\/em><\/strong><\/p>\n

\u00a0<\/em><\/strong><\/p>\n

By RK Gunikanta<\/em><\/strong><\/p>\n

Released in 1972, The Godfather, directed by Francis Ford Coppola and based on the novel by Mario Puzo, is widely regarded as one of the most influential films in American cinema. The film stars Marlon Brando as Don Vito Corleone, Al Pacino as Michael Corleone, James Caan as Sonny Corleone, Robert Duvall as Tom Hagen, Diane Keaton as Kay Adams, Talia Shire as Connie Corleone, and John Cazale as Fredo Corleone.<\/p>\n

Although commonly understood as a crime drama, The Godfather can be read as a sociological text examining family, culture, power, authority, socialisation, gender, social capital, deviance, and social order. The Corleone family functions not only as a kinship group but also as an economic organisation, political network, and informal system of governance.<\/p>\n

Family and Socialisation<\/strong><\/p>\n

Family is the central institution in The Godfather. The Corleone family provides emotional support, economic resources, protection, identity, and social control. Family loyalty is placed above individual interests and, at times, above formal law. Michael Corleone’s transformation demonstrates the importance of socialisation. Initially, Michael rejects his family’s criminal activities and seeks an identity separate from the Corleone organisation. However, family expectations, violence, revenge, and organisational responsibilities gradually reshape his identity. His transformation illustrates that individual behaviour is influenced by social structures and relationships. The closing of the office door on Kay symbolises Michael’s complete incorporation into the institutional identity of the Corleone family.<\/p>\n

\u00a0<\/strong>Culture, Tradition, and Identity<\/strong><\/p>\n

Culture plays an important role in maintaining the Corleone family’s social order. Sicilian traditions concerning family honour, respect for elders, loyalty, marriage, and reciprocity remain influential despite the family’s life in the United States.<\/p>\n

The wedding sequence illustrates how cultural traditions can simultaneously create social solidarity and reinforce political and economic networks.<\/p>\n

The film also reflects processes of migration and generational change. Vito remains strongly connected to Sicilian traditions, whereas Michael initially identifies more closely with mainstream American institutions. Their differences reflect tensions between traditional kinship-based values and modern individualism.<\/p>\n

Power and Authority<\/strong><\/p>\n

Max Weber’s concepts of traditional, charismatic, and legal-rational authority provide a useful framework for understanding Don Vito’s power. Don Vito’s authority is based largely on tradition, personal reputation, loyalty, and recognition from others. His influence does not come from formal political office but from his ability to provide protection, resolve disputes, and maintain social relationships. Michael gradually transforms this personalised authority into a more centralised and rationalised organisational structure. The transition from Vito to Michael therefore represents a transformation in the nature of authority and organisational power.<\/p>\n

Social Capital and Patron-Client Relations<\/strong><\/p>\n

\u00a0<\/strong>Pierre Bourdieu’s concept of social capital is particularly relevant to the Corleone organisation. Don Vito’s greatest resource is not simply money but his network of relationships with politicians, businessmen, lawyers, police officers, and other influential actors. These relationships operate through reciprocity. A favour creates an obligation, while assistance generates loyalty. The Corleone organisation therefore demonstrates how social networks can be converted into political and economic influence. This also reflects a patron-client system, in which Don Vito acts as a patron providing protection and resources while clients provide loyalty and support.<\/p>\n

Deviance and Social Control<\/strong><\/p>\n

\u00a0<\/strong>The film offers an important sociological perspective on deviance. From the state’s perspective, the Corleone organisation is criminal. Within the organisation, however, many of its practices are normalised and treated as legitimate. The family uses informal mechanisms of social control, including loyalty, reputation, fear, obligation, and punishment. This demonstrates that social control operates through both formal institutions, such as law and police, and informal institutions, such as family and community. The film therefore illustrates the distinction between legality and legitimacy. An organisation may be illegal while still possessing legitimacy among particular social groups.<\/p>\n

Gender and Patriarchy<\/strong><\/p>\n

\u00a0<\/strong>A feminist sociological perspective reveals the patriarchal structure of the Corleone family. Men control political and economic resources, make strategic decisions, and exercise violence, while women are largely associated with marriage, motherhood, and domestic responsibilities.<\/p>\n

Characters such as Kay Adams and Connie Corleone reveal the limited participation of women in formal organisational decision-making. The film also associates masculinity with authority, protection, economic provision, and control. Thus, the Corleone organisation reproduces both family hierarchy and gender hierarchy.<\/p>\n

\"\"<\/p>\n

Political Economy and Organised Crime<\/strong><\/p>\n

\u00a0<\/strong>The Mafia is not presented as completely separate from legitimate society. The Corleone organisation interacts with politicians, businessmen, law enforcement, and economic institutions. This demonstrates the relationship between legal and illegal economies. Organised crime can become embedded within broader political and economic structures through networks of exchange and mutual interest. A conflict-theoretical perspective therefore draws attention to unequal access to resources and the ways powerful groups seek to protect and expand their interests.<\/p>\n

\u00a0<\/strong>Contemporary Relevance<\/strong><\/p>\n

The sociological lessons of The Godfather remain relevant because individuals today are also influenced by family, peer groups, institutions, culture, economic conditions, social networks, and political environments. The film encourages us to avoid explaining behaviour solely through individual morality. Instead, we should ask:<\/p>\n

What kind of family environment shaped the individual?<\/p>\n

What values were learned through socialisation?<\/p>\n

What social pressures influenced their decisions?<\/p>\n

What opportunities or limitations existed?<\/p>\n

How did relationships affect their choices?<\/p>\n

How did power and status change their behaviour?<\/p>\n

What institutions rewarded or punished particular actions?<\/p>\n

These questions allow us to move from simply judging a person’s character to understanding how that character was socially produced.<\/p>\n

From a sociological perspective, The Godfather is more than a film about organised crime. It is an examination of how family, culture, socialisation, authority, social capital, gender, deviance, and economic power shape social life.<\/p>\n

The Corleone family represents a system in which kinship, reciprocity, hierarchy, and coercion combine to produce an alternative form of social order. Michael’s transformation demonstrates how individuals are shaped by their social environment while still retaining the capacity to make choices.<\/p>\n

The broader lesson is that character is neither entirely inherited nor entirely individual. It develops through the continuous interaction between social structure and personal agency. Family teaches values, culture provides meanings, institutions create expectations, relationships create obligations, circumstances create pressures, and individual choices determine how a person responds to them.<\/p>\n

Thus, The Godfather provides an important sociological lesson: to understand a person’s character, we must understand the society, relationships, institutions, and circumstances that have shaped that person. At the same time, we must recognise that individuals remain responsible for the choices they make within those social conditions.<\/p>\n

Ultimately, the film demonstrates that society is governed not only through formal laws and institutions but also through family, culture, social networks, informal obligations, and power relations. Its enduring sociological significance lies in showing how character and power are socially produced, continuously negotiated, and reproduced through everyday social life.<\/p>\n

(RK Gunikanta is a research scholar, activist based in Imphal, Manipur)<\/em><\/strong><\/p>\n

 <\/p>\n

 <\/p>\n

The post Revisiting The Godfather: Family, Power, Culture, and Social Order<\/a> first appeared on The Frontier Manipur<\/a>.<\/p>\n\n

Read more \/ Original news source: https:\/\/thefrontiermanipur.com\/revisiting-the-godfather-family-power-culture-and-social-order\/<\/a><\/p>","protected":false},"excerpt":{"rendered":"

\"\"<\/div>\n

The Hollywood Classic film \u2018The Godfather\u2019 (1972) demonstrates that society is governed not only through formal laws and institutions but also through family, culture, social networks, informal obligations, and power relations. \u00a0 By RK Gunikanta Released in 1972, The Godfather, directed by Francis Ford Coppola and based on the novel by Mario Puzo, is widely [\u2026]<\/p>\n

The post Revisiting The Godfather: Family, Power, Culture, and Social Order<\/a> first appeared on The Frontier Manipur<\/a>.<\/p>\n","protected":false},"author":14,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[20364,4],"tags":[20440,1667,20524,20369,1181,7602,34,319,15447,2151,7077,20525],"class_list":["post-953869","post","type-post","status-publish","format-standard","hentry","category-frontiermanipur","category-news","tag-arts-culture","tag-culture","tag-film-review","tag-frontiermanipur","tag-hollywood","tag-identity","tag-manipur","tag-manipur-news","tag-news","tag-performing-arts","tag-society","tag-the-godfather"],"_links":{"self":[{"href":"http:\/\/www.manipur.org\/news\/wp-json\/wp\/v2\/posts\/953869","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.manipur.org\/news\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.manipur.org\/news\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.manipur.org\/news\/wp-json\/wp\/v2\/users\/14"}],"replies":[{"embeddable":true,"href":"http:\/\/www.manipur.org\/news\/wp-json\/wp\/v2\/comments?post=953869"}],"version-history":[{"count":1,"href":"http:\/\/www.manipur.org\/news\/wp-json\/wp\/v2\/posts\/953869\/revisions"}],"predecessor-version":[{"id":953872,"href":"http:\/\/www.manipur.org\/news\/wp-json\/wp\/v2\/posts\/953869\/revisions\/953872"}],"wp:attachment":[{"href":"http:\/\/www.manipur.org\/news\/wp-json\/wp\/v2\/media?parent=953869"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.manipur.org\/news\/wp-json\/wp\/v2\/categories?post=953869"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.manipur.org\/news\/wp-json\/wp\/v2\/tags?post=953869"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}