Movies

In ‘On Swift Horses,’ a handsome trio stumbles into romance and messier feelings

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The initially apparent love triangle, reminiscent of postwar settings with oil-and-water brothers and a cunning housewife, unfolds in “On Swift Horses” to resemble a complex crystal displaying various facets of desire and yearning within the richly portrayed romantic drama.

In this rephrased version, let’s take a look at Daniel Minahan’s film interpretation of Shannon Pufahl’s 2019 novel, which delves into both the fears and possibilities of prosperous America. Minahan skillfully blends elements of Douglas Sirk’s style with hints of Todd Haynes’ work. However, as the intriguing complexity of the main characters reaches its peak, it becomes clear that the film’s sincere, glossy appeal will not evolve into a richer, darker narrative exploration. The movie is visually appealing, addressing suppressed lives and the longing for freedom, but it seems to struggle between showcasing the superficial attraction of those yearnings in a repressive era and diving deeper into their underlying themes.

For an hour, it’s like watching a mid-century soap opera with an R-rated edge. Muriel (Daisy Edgar-Jones), despite reservations, consents to marry her returning war hero boyfriend Lee (Will Poulter). They decide to leave their life in Kansas behind and try their luck in vibrant, glitzy, rapidly developing Southern California. However, instead of joining them, Lee’s skeptical gambling brother Julius (Jacob Elordi) is drawn away by the allure of casinos to Las Vegas.

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The London-born performer stands out in a whirlwind of current projects, such as the films ‘Conflict’ and ‘The End of a Unicorn,’ along with a fresh installment of ‘Black Mirror.’

In my perspective, where Lee feels the common sorrow of lacking family proximity, Muriel experiences a subtler, inexplicable yearning for something amorous that she can barely express beyond an attraction towards danger. Edgar-Jones’ subtle performance beautifully captures this new phase in Muriel’s life in suburban San Diego. Hiding her cigarette habits isn’t new to Muriel, but her deception about interactions with Julius and concealing her racetrack winnings from tips at her job take her deceit to a whole new level, keeping Lee in the dark.

As for me, I find myself assuming the role of a discerning observer in a casino, unmasking card cheats as a form of penance for my past misdeeds – and it’s effortless to empathize with Elordi’s portrayal of a sensitive ’50s rogue. However, perched atop the scorching catwalks overlooking the bustling gambling tables, I encounter the enigmatic Henry (Diego Calva), a Tijuana transplant who exudes sexiness and straightforwardness. This unexpected encounter threatens to expose the hidden facet of my cautious, cynical existence – my latent homosexuality – which could explode into an all-consuming passion. (Caution: Metaphor ahead: Thrill-seeker Henry leads me to the desert to witness bomb tests.) The suppressed desires within Muriel are also stirred, as open and politically minded queer neighbor Sandra (Sasha Calle) challenges her. Upon our initial meeting, she extends a hand for me to spit out an olive pit – a symbol of secrets waiting to be unveiled in this intricate web of concealed truths.

In simpler terms, Bryce Kass’ action-filled script for “On Swift Horses” keeps director Minahan engaged, but the interwoven stories and their neatly resolved conflicts become too much, undermining the tension that made the beginning of the movie so suspenseful amidst its historical setting and Luc Montpellier’s vivid cinematography. As a seasoned TV professional, Minahan eventually succumbs to an episodic approach, which causes characters to blend together as the narrative increasingly relies on storytelling devices, gestures, and messages at the expense of character development.

The acting, particularly that of Edgar-Jones and Poulter, is a redeeming aspect, especially since Edgar-Jones delves into the subtleties superbly and Poulter’s portrayal of Lee offers a striking complexity. The moment when Lee demonstrates profound understanding at a crucial point feels genuinely unexpected and skillfully executed by the actor. However, Elordi appears to struggle in his role, oscillating between being depicted as a hunk and an introspective character. He seems unable to reconcile Julius’ initial vulnerability with the romantic resolution in the final act. This climax was intended to provide catharsis for a deliberately challenging emotional narrative. Instead, it comes across as a convenient escape route when “On Swift Horses” had initially suggested a more complex psychological exploration of emotions that are typically concealed.

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2025-04-25 19:31

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