As a fan who has grown up with the silver screen as my trusted companion, I have to say that Daisy Edgar-Jones and Will Poulter‘s performances in “On Swift Horses” are nothing short of breathtaking. Their portrayal of love, self-discovery, and the complexities of human relationships in a 1950s setting is nothing less than captivating.
Daisy Edgar-Jones expresses that her initial attraction to the acclaimed TIFF movie “On Swift Horses” stemmed from admiration. “I was a big fan of the film’s producers,” she shared, sitting alongside her co-star Will Poulter during a hectic press day at the Toronto Film Festival. The movie debuted on September 8 and marked its world premiere there. She further added that she adores movies like “Call Me By Your Name” and “Nomadland“, so she was thrilled when Peter Spears and Mollye Asher took on this project.
After reading the script, I found it incredibly beautiful, poetic, and full of a captivating exploration of love and self-discovery. The icing on the cake? Discovering that the cast includes Will, Jacob [Elordi], Sasha [Calle] and Diego [Calva]. This is such an exciting opportunity to be part of a period film with a young, dynamic ensemble.
The 1950s-set film, based on Shannon Pufahl’s 2019 book of the same name and helmed by Daniel Minahan (of Halston and Fellow Travelers fame), combines a cool, stylish atmosphere while maintaining intricate depth. Jodie Comer portrays Muriel, a young woman from rural Kansas who finds herself emotionally torn between two men: her husband Lee (Poulter) and his brother Julius (Elordi). Both men, having returned from the Korean War, reunite with Muriel during Christmas at a house her mother had bought, an unusual event for women of that era. Although Muriel eventually agrees to marry Lee, her attraction towards Julius is evident from the start. After relocating to San Diego with Lee, Muriel and Julius continue their correspondence.
Elordi’s Julius, who treats life as a gamble, doesn’t follow through on the new pact, opting for Las Vegas where he works at a casino. There, he begins a steamy affair with the dashing and cunning Henry (Diego Calva), who takes even bigger risks than he does. Drawn to the freedom she senses in Julius, Muriel, now working as a waitress, begins quietly making bets at the horse track. It’s a life she hides from her husband, along with her own secret same-sex desires, as they continue to pursue his American dream in California.
Encountering Julius feels like a turning point for me. I’m currently in a relationship with Lee, and our bond is strong, yet filled with love. But there’s something about Julius, the way he vibrates, that seems to rejuvenate me. I believe I see parts of myself reflected in him, and although I can’t quite put it into words, I sense a deep connection.” This is how I would paraphrase Edgar-Jones’ statement from the first-person perspective of a gamer.
At first, it’s a fleeting instant of attraction that sparks, and as the narrative unfolds, she gradually deepens this connection by asserting small instances of independence and power through her gambling victories and secretly hoarding the winnings. She clarifies, ‘There is a great deal of affection between Lee and Muriel, but it’s not the kind of love she yearns for.’
Poulter views Lee as both a product of his era yet transcending it. He remarks, “I believe Lee embodies, to some extent, a specific type of pursuit of the American dream.” Lee is a young man, Poulter suggests, who adheres to many societal expectations of that time and holds a heteronormative view of the world. However, his perspectives might seem somewhat narrow due to this conformity. Yet, there seems to be a deeper understanding within him about sexuality, possibly stemming from his relationship with his brother and the love he has for him. His brother’s situation, not being granted the freedom to live openly as a queer person, may have given Lee a more nuanced perspective on Muriel’s journey in accepting her own identity and sexuality.
Both of them attribute their director for making the 1950s setting and its constraints feel genuine to them. Poulter remarks, “It’s astounding when your director serves as your guide for almost anything you could ever need.” Dan, he says, was exceptionally knowledgeable and engrossed in the era and all aspects related to the intricacies of the characters during that time, and especially anything related to the queer experience. As a gay man himself, Dan was able to provide guidance on how this should be portrayed honestly and respectfully. I admired him before, but my admiration has grown even more now.
Being a gamer, I’ve always been captivated by the tales spun in American productions – the films, the music, all of it. So when the opportunity came to immerse myself in an American-themed project, I didn’t feel like a fish out of water. Instead, I felt a familiar pull, as if stepping back into a world I’d long admired from afar. Just like diving into a beloved video game, I was ready to explore this new territory.
According to Poulter, the aspiration for a better life and living genuinely in an authentic way is a common theme that resonates universally. What’s beautiful about this narrative is that no matter what personal journey you observe in the movie, there are aspects of each character’s journey that can be related to by everyone who watches it.
Not only do they both appreciate the movie’s optimistic tone, but as Edgar-Jones explains, “It doesn’t wrap up neatly. Instead, it seems like there’s an ongoing adventure yet to be explored, while still maintaining a sense of hope.
Poulter further emphasizes, “We’re making it clear that many queer individuals face complex and challenging journeys, though these stories don’t always have tragic endings.
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2024-09-10 23:25