As a film enthusiast who has spent countless hours watching movies, I must admit that “On Swift Horses” left me with a mixed bag of emotions. On one hand, the cinematography was captivating and transported me to the golden age of American history, making each location feel like a steamy, sun-drenched dream. Luc Montpellier’s work deserves a round of applause for that.
In an ideal scenario, the movie “On Swift Horses” could be likened to the contemporary equivalent of “Brokeback Mountain”. Similar to Ang Lee’s 2005 Academy Award-winning film, it is an emotionally resonant neo-Western based on a literary work, featuring bold portrayals of queer love and a rising cast in Hollywood. However, unlike Lee’s film which was both groundbreaking and meticulously crafted, “On Swift Horses”, premiered at the Toronto International Film Festival, appears to fall short, offering more of a fizzle rather than the anticipated bang.
The story in “On Swift Horses,” derived from Shannon Pufahl’s novel, introduces Muriel (Daisy Edgar-Jones) and Lee (Will Poulter), who are poised for a fresh start after Lee comes back from the Korean War. Lee yearns to wed and settle in California, but Muriel appears less than enthusiastic. To add to their troubles, Lee’s sibling, Julius (portrayed by Jacob Elordi), suddenly shows up at their home unannounced. Predictably, he departs as swiftly as he arrives, bound for Las Vegas in search of excitement and quick money.
In a casino, Julius acquires employment and encounters the captivating Henry (Diego Calva), leading them into a clandestine, passionate relationship. Simultaneously, Muriel, in agreement with Lee to relocate to California, experiences dissatisfaction as they grapple with financial difficulties. Despite their progress and securing a new residence, it fails to fulfill her desires. Consequently, she resorts to gambling on horse races, concealing her earnings from her husband. The quartet is individually pursuing their dreams, learning profound truths, some beneficial and others detrimental, about themselves during this journey.
The Potential Is as Profound as the Letdown
From the plot summary, it seems clear that the narrative of “On Swift Horses” weaves together numerous interconnected storylines. I, as a film enthusiast, can see an intricate tapestry of characters, each with their own rich histories, ambitions, and driving forces, often at odds with one another. Moreover, it appears that the story employs a recurring gambling motif, suggesting that life is like a game where we’re all betting on the hands we’ve been dealt.
As a cinema enthusiast, I can’t help but feel a sense of nostalgia for the grand tales of the American Frontier and the dream they evoke. This film, with its themes of the American Dream and taboo love, certainly has the potential to be an epic reminiscent of those timeless stories. The developing relationship between Muriel and Julius, both yearning for “something more,” sets a compelling stage for a unique romance rarely seen in the Western genre. However, what I found disappointing is that the story doesn’t quite come together as smoothly as one might hope. Instead, it feels like a collection of different ideas, plots, subplots, and characterizations that don’t quite blend harmoniously.
An Overstuffed but Pretty Picture
In essence, Edgar-Jones and Elordi seem to be playing characters in separate narratives: one unfolding as a domestic drama in California, while the other is a tale of queer romance in Las Vegas. While Bryce Kass’ script attempts to weave these stories together (with Muriel writing letters to Julius that remain unanswered), they share common themes – Muriel’s journey towards self-discovery and acceptance of her sexuality, with Sandra (Sasha Calle) and Gail (Kat Cunning). However, the film, titled “On Swift Horses“, seems to take on more than it can handle. This impression is not improved by the editing, which at times feels rather disorganized, making even the most straightforward locations and dialogues seem confusing and labyrinthine.
Minahan’s film may offer little comfort to some viewers, but Luc Montpellier’s exceptional cinematography is a silver lining. His images beautifully depict the radiant California skies and the scorching heat of Las Vegas, each frame oozing with the sensuality unique to these locations. Moreover, he manages to convey an old-world charm as if the film was set in a golden era of American history, capturing fleeting moments of light during times of doubt.
The Cast Makes the Most of Their Underwritten Characters
In the movie “On Swift Horses,” the most significant flaw lies in its treatment of its talented cast, which includes some of the most promising actors in the industry currently. Indeed, each actor effectively utilizes their given material: Elordi skillfully leverages his popularity as a heartthrob and infuses Julius with emotion; Edgar-Jones demonstrates chemistry with all her co-stars; and Poulter convincingly portrays Lee’s boyish sincerity without veering into naivety. Among the four, Calva truly shines as Manny, exuding both magnetic appeal and charm while subtly conveying a hint of hidden tragedy through his enigmatic gaze.
If you were anticipating an intense, passion-driven love story between Elordi and Calva (as suggested by Calva during the production of On Swift Horses), you might want to adjust your expectations in that area. The film is certainly sexy and the duo is captivating as they navigate desire, fear, and ambition, but it’s less explicit compared to many other notable queer films. It’s unfortunate for Elordi, who has been choosing intriguing projects like last year’s Priscilla and the upcoming Guillermo del Toro’s adaptation of Frankenstein, which showcase his talents rather than just his appearance.
In the movie “Swift Horses,” life’s unpredictability mirrors that of a game of chance. Sometimes you come out on top, sometimes not. For further insights into “Swift Horses” at TIFF, please check out the festival’s official website.
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2024-09-12 04:32