In a refreshing take on socially pervasive themes, the film ‘Swag’ by writer-director Hasith Goli delves into the intricacies of gender norms and hierarchies with a keen satirical edge. The Telugu film stands out for its multifaceted narrative, exploring the contrast between matriarchal and patriarchal societies through a series of time-spanning stories. While ‘Swag’ is heavy with satire, it layers an emotional foundation, showcasing the turmoil for a father in accepting his son’s perceived gender identity. This pivotal subplot serves as an emotional anchor within the vibrant, almost chaotic narrative landscape.
In his second directorial venture following ‘Raja Raja Chora,’ Goli ventures beyond conventional binaries to discuss gender equality. His non-linear storytelling spans from the 1550s to contemporary times, weaving a rich tapestry of interconnected stories within a fictional bloodline. The title ‘Swag’ plays on the dual theme: an abbreviation of the fictional ‘Swaganika vamsam’ (dynasty) and a nod to the self-assured strut of men who thrive under patriarchal societal norms.
The film opens in the year 1551, within the fictional ‘Vinjamara vamsam,’ a dynasty adhering to matriarchal norms under the reign of Queen Rukmini Devi, played by Ritu Varma. Goli flips the historical script by envisioning a society marked by male foeticide, contrasting sharply with modern-day issues like female foeticide. Through the character of Bhavabhuti, portrayed by Sree Vishnu, the narrative presents a man who attempts to overturn the status quo, instituting a patriarchal order.
As the 159-minute film unfolds, viewers witness the fallout from these seismic shifts in gender dynamics. Another timeline catapults forward to reveal Anubhuti, also played by Ritu Varma, a modern-day civil engineer navigating the rigid structures of a still strongly patriarchal world. Her struggle, highlighted by an incident of workplace sexual harassment, starkly foregrounds the persistent gender disparities in today’s society. On reporting the harassment, both she and the offender are removed from their positions, her boss preferring not to engage female engineers to avoid disturbances in workflow. This subplot starkly reflects ongoing societal issues.
At the core of ‘Swag’ is the saga of the ‘Vamsa Vriksha Nilayam’ or family tree house, which holds a treasure linked to the Swaganika lineage. The protectors of this treasure are on a quest to locate its true heir, their search complicated by an incomplete family tree after the character of Yayati, another role essayed by Sree Vishnu.
. Throughout this journey, characters claiming descent from the dynasty emerge—Bhavabhuti, the cop, and Singareni, a social media influencer, both played by Vishnu. Each bringing their humor and depth to the sprawling narrative.
Compounding the drama are the various players caught in this historical and contemporary tussle. Goparaju Ramana portrays dual roles as the treasury guardians with their secretive agendas, while Meera Jasmine, Sharanya Pradeep, and Daksha Nagarkar shine in dual roles that are cleverly interwoven into the plot, further amplifying the complex storytelling. While the challenge of following diverse characters across a dynamic timeline can be daunting for the audience, a well-executed mid-narrative twist compels a re-evaluation of entrenched gender perspectives.
The film’s lifeline rests on the shoulders of Sree Vishnu, whose evocative portrayal across multiple characters imbues the film with its driving energy. His performance echoes the classic versatility of Kamal Haasan in ‘Michael Madana Kamaraju,’ providing a nod to cinematic history while forging new narrative paths. Ritu Varma supports him ably, excelling in a more nuanced role as Anubhuti, creating an authentic representation of an evolving woman confronting her biases and the limits of her power within patriarchal confines.
A particularly striking character is Revathi, brought to life by Meera Jasmine. She adds depth as a teacher challenging conventional norms, illustrating the film’s themes of acceptance and the recognition of diversity and differences. Although her screen time is brief, her performance grounds the film’s philosophical queries.
Aided by a strong technical crew, ‘Swag’ traverses timelines with visual flair, thanks to Vedaraman Sankaran’s cinematography and Vivek Sagar’s music, which perfectly underpins the film’s tone with an array spanning classical to modern soundscapes. Strategically edited by Viplav Nyshadam, the film maintains coherence across its involved storylines. However, there are moments where art direction wavers, falling short in delivering the grandeur expected of royalty, especially evident against the lavish backdrop of Jaipur’s Amer Fort.
Despite these minor flaws, ‘Swag’ manages to captivate with its audacious critique of societal norms through an engaging blend of humor, drama, and thought-provoking moments. A must-watch for those seeking cinema with depth, ‘Swag’ is currently playing in theaters, leaving audiences with humor, reflection, and perhaps a newfound perspective on gender discourse.
