“On Swift Horses”

Adapted from Shannon Pufahl’s 2019 novel of the same name, “On Swift Horses” aspires to capture the lyrical restlessness of 1950s America. Weaving a tale of hidden desires and personal reckoning, director Daniel Minahan tries his best to effectively translate the material to the screen. While the film’s aesthetics and period detail are visually well done, it struggles to translate the depth of its source material into a compelling and entertaining cinematic experience.

Set against the backdrop of mid-century America, the story follows newlyweds Muriel (Daisy Edgar-Jones) and Lee (Will Poulter) as they relocate from Kansas to San Diego, seeking stability and the promise of a happy, conventional life. Lee’s brother Julius (Jacob Elordi) returns from the Korean War and finds himself drawn to the vibrant world of Las Vegas, where he befriends the charismatic Henry (Diego Calva). The film explores their parallel lives and hidden desires, including Muriel’s secret gambling hobby and Julius’s burgeoning homosexual relationship with Henry.

Minahan’s adaptation succeeds in capturing the film’s aesthetic charm, thanks in part to the beautifully expressive cinematography by Luc Montpellier. The film’s visual style is rich with the textures plucked from the 50s, and the period details add a layer of authenticity. The production design and costumes are impeccably crafted, creating a sense of nostalgia and longing that complements the film’s themes.

Despite these strengths, the film faces significant challenges in its narrative execution and often feels like it is struggling to juggle too many elements at once. The ambitious adaptation of Pufahl’s novel sometimes falters in its translation to the screen, leaving several storylines and character developments feeling disjointed. The film’s pacing suffers from an overabundance of unnecessary scenes that do little to advance the plot or deepen the motivations of the characters.

The exploration of LGBTQ+ themes is central to the story but ultimately falls short. The film attempts to address the complexities of sexuality in a repressive era but does so in a manner that feels more exploitative than insightful. The focus on sexual content without a deeper examination of the characters’ emotional and psychological states seems superficial, missing the opportunity to provide meaningful commentary on LGBTQ+ experiences during that time in American history.

The film’s attempts at poignant moments and dramatic tension occasionally veer into unintentional corniness, with the ending feeling particularly unsatisfying and melodramatic. What should be a powerful conclusion instead lands as an anticlimactic and somewhat laughable finish, which definitely isn’t what the filmmaker intended.

In the end, “On Swift Horses” is a case of style over substance. It’s a beautifully crafted world inhabited by a talented cast, but it struggles to provide a substantive exploration of its themes and ultimately falls short of delivering anything particularly meaningful or memorable.

By: Louisa Moore