Director: Daniel Minehan
Writers: Bryce Kass, Shannon Pufahl
Stars: Daisy Edgar-Jones, Jacob Elordi, Will Poulter
Synopsis: Muriel and her husband Lee are about to begin a bright new life, which is upended by the arrival of Lee’s brother. Muriel embarks on a secret life, gambling on racehorses and discovering a love she never thought possible.
The post-World War II baby boom and subsequent decades are among some of the most romanticized eras in American history. Hundreds of thousands of folks flocked to newly developed parts of the country as suburban housing began popping up rapidly around growing cities. Men worked tough jobs, while their wives stayed home to keep up the house and raise the kids. It was an exciting time, and film often shows it to be one of the best times to be alive in this country. So much opportunity was available that all you had to do was put yourself out there, and you could be successful just like everyone else.
At first glance, it certainly seems that way, considering the state of our country today. But the problems of today plagued us back then, as showcased in Daniel Minahan’s latest film, On Swift Horses. Adapted from Shannon Pufahl’s novel of the same name, the film follows Muriel (Daisy Edgar-Jones) and Lee (Will Poulter) as a newly married couple trying to achieve the American Dream in San Diego, California. Parallel, and at times interwoven with their story, we see Lee’s younger brother Julius (Jacob Elordi) as he struggles to stay afloat along his travels as a gambler, casino worker, and gay man.
The opening scene sees Julius visit Lee and Muriel at her late mother’s Kansas home. Something sparks in Muriel the second she meets Julius, something that she chases for the rest of the film. They are drawn together in an unspoken yet unmistakable way, one that they subconsciously don’t bring up around Lee. From here, the rest of the film shows the parallel journeys of Muriel and Julius as they are continually trying to find their footing in the new spaces they find themselves in
On Swift Horses is beautifully shot, evoking that American exceptionalism by framing this period piece with exquisite detail and precision. Luc Montpellier’s work behind the camera is slow and steady, with little flair to take note of. His patient eye captures both city streets and vast landscapes with a quiet beauty that is a force to be reckoned with. In many ways, the cinematography sets the slow-burn tone the film carries right to the end.
The film’s later stages get a burst of energy from the entrance of Henry (Diego Calva), a fellow card cheat and coworker with Julius at a Las Vegas casino. The two quickly fall in love and begin meeting in secret at Julius’ motel. Calva’s performance offers the more assured version of what we’ve seen of Julius. Willing to take risks outside of the motel, he pushes Julius to be freer and more self-confident. Elordi’s moody meandering (reminiscent of his role in Oh, Canada) is challenged by Henry’s more fun, reckless lifestyle. Even someone as magnetic as Julius meets his match here.
Bryce Cass’s script frankly doesn’t give most of its characters much to do, save for Muriel. She’s the one character that seems to have a full arc, while Lee and Julius remain pretty stagnant. Edgar-Jones is solid as Muriel, and plays the quietly dissatisfied suburban wife with a lot of nuance. After finding herself trapped in the classic boring suburban dream, she becomes taken with betting on horses. This journey leads to a lot of thrills as well as a realm of self-discovery that she never imagined.
On Swift Horses attempts to tackle several mindsets and social norms from the time: the American Dream, sensibilities on homosexuality, and the place of women in suburban society. From the jump, Muriel doesn’t seem thrilled about the prospect of getting married and heading west to find a small house in a neighborhood with Lee. This picture-perfect life that Lee has dreamt of since being in Korea should be all they can ask for, but she’s just not as enamored with it as he is. Her spot in the home is to look nice and support him in his work. In a world like this, it stands to reason that women like Muriel have a lot of time on their hands and a lot of time to find things to keep secret. Early in the film, she finds success with her horse betting but keeps her major winnings a secret from Lee.
At this time, even out west in more progressive states like California, being gay was frowned upon by most. There are very few places where people are free to be fully themselves, and both Julius and Muriel find those around them who have managed to build a secure enough life to be fulfilled in their desires while also masking them from others. Even Lee can’t bring himself to fully talk about what he knows of Julius’ sexuality. All he can say is, “He’s different from us.”
On Swift Horses is the definition of a slow burn, with beautiful people and beautiful cinematography at the forefront. With the novel receiving mixed reviews, it’s a peculiar choice for an adaptation, but the visual medium gives an interesting look into the longing and dissatisfaction found in this era of American progress. While it may be quiet, it’s a deeply human story that doesn’t pass judgment on its characters and paints a realistic portrait of what this kind of life looked like.
