Running Time: 117 minutes
This feature from Sony Pictures Classics opens exclusively at cinemas on April 25th.
The new film On Swift Horses is an adaptation of a well-received 2019 novel. When the basis for the tale has been praised for its impressive writing and detailed analysis of complicated issues and characters, it’s unlikely that an abbreviated filmic version can top it. This reviewer is not familiar with the source material and imagines that the picture isn’t a perfect recreation of the original narrative. It is, however, interesting and does offer enough plusses to make it worth a look.
Set in the 1950s, the tale follows Muriel (Daisy Edgar-Jones), a young woman dating Korean war vet Lee (Will Poulter). Lee is eager to start a family and life out west, but Muriel harbors nervousness about making this big leap. She is also enamored with her beau’s brother Julius (Jacob Elordi), who gambles and seems more impulsive in general, living in a more freewheeling manner. Muriel ultimately accepts Lee’s marriage proposal and the pair move to San Diego, but she can’t stop thinking about Julius. Meanwhile, the brother heads out to Las Vegas, working at a casino and falling for Henry (Diego Calva). Back in California, Muriel tries to follow social customs, but begins gambling and develops an attraction towards neighbor Sandra (Sasha Cole). It isn’t long before everyone’s secrets bubble to the surface.
Those going into the picture need to understand that all the characters have their issues and often seem indecisive, which may frustrate some viewers. But, if you can tolerate these individuals not speaking up or acting out on their desires, you may be intrigued by what occurs. While the ideal of this era is to be part of a nuclear family, Muriel and Julius both overtly and/or subconsciously can’t follow this path. Instead, they are forced to put on a show and behave like different people, only occasionally showing cracks in public. And even Lee, who does desperately want to attain his perception of the perfect family, ultimately finds it to be an impossible task.
As mentioned, with the central three characters going on separate and meandering journeys, it does take a long time for the conflict to boil over and everyone to fully understand who they are and what they need, but at least the cast are all charismatic and compelling to watch. Additionally, there are no overtly villainous characters in this story, and all of the protagonist’s flaws do make them feel a bit more authentic and help to cover some of the story’s overly melodramatic moments.
The specifics about life in the 1950s are also interesting to witness. The picture goes into detail about gambling and old-fashioned casino surveillance techniques that are fascinating (and look absolutely horrifying to endure). And another plus is the look of the film. The production design and cinematography are gorgeous, with soft reds, browns, yellows and oranges lighting up the faces of the characters and the backdrops beautifully. Even if this tale moves at a leisurely pace, the postcard-like images always impress.
The film does struggle during the climax with a grandiose emotional gesture that doesn’t land. However, there is another, more subdued part of the close, involving messages being posted on a board by friends and lovers who are trying to reconnect in a world where they must hide themselves, that is a different story. Just watching one character quietly look over the various notes is very moving and effective.
On Swift Horses will certainly annoy those who want to watch a movie about driven characters who are direct about making their feelings and beliefs into reality. In this tale, one of the leads doesn’t appear to be exactly certain of what they’re looking for. If you can accept this and just go on a trip as they gradually find their place in the world, then it is an engaging effort. And when the picture reaches its destination, it does offer some insight into the personal trials of many individuals during the era and how hard it was to truly live as themselves.