‘On Swift Horses’ Review: Daisy Edgar-Jones Wagers There’s More to Marriage in ’50s-Set Drama

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As a devoted film enthusiast, I had the privilege of attending the secret screening of “On Swift Horses” at the Palm Springs Film Festival in January. To my surprise, at least several audience members chose to leave during the movie, not due to poor quality but rather because they weren’t prepared for its central theme: a compelling gay love story. This cinematic journey, however, doesn’t require a spoiler alert – instead, it’s more like a helpful heads-up or an appealing aspect to highlight. Festival descriptions, such as “self-discovery” (Toronto) and “exploring a love she never dreamed possible” (SXSW), hint at this subtly, but I find it beneficial to address the matter directly, making the audience’s experience even more enriching.

Daniel Minahan’s period drama, based on Shannon Pufahl’s acclaimed novel, delves into the struggles of self-expression in the 1950s, as two characters find themselves drawn to individuals of their own gender, rather than each other as some misleading plot summaries might imply. This knowledge enables viewers to concentrate on the profound bond these outcasts forge during a time when secrecy was paramount. The sexual tension hinted between Julius (Jacob Elordi) and Muriel (Daisy Edgar-Jones), his soon-to-be sister-in-law, takes a backseat to the deep connection they establish in a more hidden era.

Indeed, there’s a brief spark between these characters as Julius, recently returned from the Korean War, unexpectedly arrives at his elder brother Lee’s (Will Poulter) residence. Muriel is initially drawn to him when she spots him bare-chested on the bonnet of Lee’s car, posing in a way that suggests he could be modeling for a Bruce Weber photograph (and later, lying on the bed of a Reno hotel room, it seems as though Minahan and cinematographer Luc Montpellier are shooting a Calvin Klein ad rather than an unconventional Killer Films production).

Julius is one of those individuals who identifies as omnisexual and attracts attention wherever he goes. Elordi certainly has a striking appearance, yet emotionally, he seems to be struggling in this role. On the other hand, Edgar-Jones delivers a more subtle performance, effectively portraying Muriel’s hesitation when Lee proposes marriage, gradually unveiling how she discovers and asserts her own desires – both sexual and those related to her personal independence – at a time when societal expectations were pushing single women towards matrimony.

In the brief time spent together, Muriel and Julius form a bond that Muriel believes Julius will respect once she marries Lee, who is known for being strong and reliable. However, it seems that Lee may be in store for heartache, as Poulter portrays Lee with depth (similar to how Anne Hathaway developed her character in “Brokeback Mountain”). With the distinct traits of a character actor and a tall, blond pompadour, Poulter appears to fit right into the given era. Despite genuinely loving Muriel, Lee has been pushing her towards his aspirations rather than their joint journey. For instance, he pressures her to sell the family estate so they can purchase a new home in San Diego.

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In the span of just a few days, Muriel and Julius establish a bond that Muriel assumes will remain when she marries Lee, who is known for his strength and dependability. Unfortunately, it seems that Lee may experience disappointment, as Poulter brings depth to the character (akin to Anne Hathaway’s portrayal of her character in “Brokeback Mountain”). With the unique qualities of a character actor and a tall, blond pompadour, Poulter appears to fit perfectly into the given time period. Despite loving Muriel deeply, Lee has been coercing her to follow his dreams instead of their shared path. For example, he encourages her to sell the family property so they can buy a new home in San Diego.

The intention was for Julius to join them at that location, initiating a shared journey towards a new life. However, as unsurprising as it is with Julius, he ends up deviating from the path, taking on a job at a casino in Reno instead. This is where the title of this compact, sometimes contrived-feeling drama originates: Beyond their suppressed romantic feelings towards each other, what they share is an affinity for gambling. Is it the allure of becoming wealthy or the thrill of potentially losing everything that attracts them? Likely, it’s a combination of both, but neither can resist the opportunity to gamble.

It appears Muriel is more fortunate, based on her achievements at the race track, but in the eyes of Pufahl and screenwriter Bryce Kass, luck can’t be defined solely by short-term financial gains. There’s a deeper aspect to consider – the secret romances they engage in, where they risk everything for someone worth jeopardizing their carefully constructed lives – and that’s the greatest gamble they take, putting trust in feelings society deems taboo.

For Muriel, an alluring surprise presents itself unexpectedly as she visits a neighboring farm to purchase olives. Upon opening the door, she’s captivated by Sandra (skillfully portrayed by Sasha Calle), who doesn’t openly declare her sexual orientation but possesses such charm that it could effortlessly draw people of any gender into infatuation.

In the vibrant city of Reno, I cross paths with an individual who stirs within me a desire to establish roots. Yet, Henry (Diego Calva) exhibits an unbridled, untamed spirit that surpasses my own. As a Mexican man navigating 1950s California, he’s endured years of mistreatment, channeling his energy into outsmarting the system rather than forging a meaningful connection with me. A sense of sorrow permeates the relationships among these characters, as they inadvertently construct barriers to their own contentment. At times, it seems as if the author is orchestrating impossible romances destined to crumble. However, there’s an undercurrent of hope, and despite the forced feel of the final scene, there’s a certain poetic beauty in witnessing someone placing his future on another roll of the dice – or, in this case, another horse race.

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2025-03-13 22:17