On Swift Horses
Dustin Chase
“We are all just a hair’s breadth from losing everything.” That line from the new film “On Swift Horses” describes both the fragile lives of the characters in the story and director Daniel Minahan’s grip on the project. Combining a stellar cast of actors working outside their comfort zones, the sex appeal of this adaptation is its strongest element. Coincidence, however, is the enemy in Bryce Kass’ script adapted from Shannon Pufahl’s novel. Minahan has worked on some of the best series in television (“Game of Thrones”, “House of Cards”), but his small-tube experience does him no favors here. Jacob Elordi (“Saltburn”) and Daisy Edgar-Jones (“Twisters”) keep us watching, but can’t save this frustrating film from all its shortcomings.
When Julius (Elordi) meets his sister-in-law Muriel (Jones) for the first time in Kansas, they have an unspoken connection. Lee (Will Poulter) and Julius might be brothers, both serving their time during the Korean War, but Lee sees everything in black and white. Wife, job, house, future, he wants the American Dream. Julius is quite different; his interests are not the kind accepted in the 1950s. Muriel moves to California for Lee’s reassignment, and the country girl discovers her own curiosity. She is pen-pals with Julius as he moves around Nevada, yet neither is brave enough to speak about the secret life they are living. Julius meets Henry (Diego Calva), working security at a casino, and his life is changed forever. While Muriel’s new next door neighbor Sandra (Sasha Calle) is the fire she has been missing from her stale marriage.
Beautiful shots of his actors, closeups of longing faces, sweaty body shots, all bathed in vintage light, the desire and lust element of the film is where it succeeds most.
Horses and gambling are involved in the story as Muriel bets and wins a lot of money at the tracks, while Julius rides away on a horse he won in a bet. Yet their presence in the story is more metaphorical. Not quite a western, nor a gay love story, “On Swift Horses” keeps its distance from “Brokeback Mountain.” Minahan can’t quite convey the root of the story, which is about yearning, exploration, and self-discovery in an age where those things were not encouraged and downright illegal. Beautiful shots of his actors, closeups of longing faces, sweaty body shots, all bathed in vintage light, the desire and lust element of the film is where it succeeds most. Editing the two separate character journeys together, often only connected by voiceover, is a real struggle.
With all “On Swift Horses” elemental issues, it’s the endless coincidence and suspension of disbelief that dispels the lascivious allure that’s achieved. The first real job Julius gets in Vegas just happens to be with someone with the same proclivity. Muriel just happens to move next door to the woman who would encourage her desires. The screenplay plays out like an overly fatalistic gay film from the 90s. It aims for this emotional ending with a swell of music that it doesn’t earn, but hints at what could have been. This adaptation likely would have worked better as a series, developing these arcs over time, as seen here it plays more like fantasy and lacks authenticity.
Final Thought
“On Swift Horses” is a frustrating film that’s all hot and bothered with nowhere to go.