On Swift Horses Review: Complicated Relationships Fuel This Slow But Steamy 1950s Queer Drama

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1950s America was a precarious time for those living queer lives, as they often had to navigate through perilous situations. The fear was constant – the person you’re about to meet could turn out to be an entrapment, the bar you run to for safety might get raided by police, and the wrong individuals always seemed to find out your secret and create chaos. The upcoming film “On Swift Horses,” adapted from Shannon Pufahl’s book and directed by Daniel Minahan, vividly portrays this theme by focusing on a diverse array of queer characters who are not just metaphorically but literally gamblers as well.

In Las Vegas, characters named Julius (Jacob Elordi) and Henry (Diego Calva) cross paths, develop feelings for each other while working undercover at a casino to expose card cheats – a skill they’ve honed from their own past experiences with deceit. Simultaneously in San Diego, Julius’ sister-in-law Muriel (Daisy Edgar-Jones) becomes entangled in gambling via horse racing bets. As her interest in other women blossoms, she finds herself engaging in secret affairs. Meanwhile, Lee (Will Poulter), who has recognized his brother Julius’ sexual orientation after their return from the Korean War and a rejected offer for him to live with Lee and Muriel, labels him as “not like us.” Ironically, Lee remains oblivious that Muriel is involved romantically with their neighbor Sandra (Sasha Calle).

In my perspective, falling for geometry wasn’t straightforward enough, and it seems Muriel harbors feelings for Julius, whom she engages in correspondence. It’s up for debate whether her affections are a poignant bisexual longing, heterosexuality playing out humorously, or an enigmatic manifestation of gay male-female camaraderie. In terms of narrative structure, “On Swift Horses” resembles a fusion of Luca Guadagnino’s two 2024 films: the intricate relationships and strategy from “Challengers” blend with the historical backdrop (including a journey to Mexico) and melancholic solitude of “Queer.” Although it lacks the wandering nature of the latter, it doesn’t quite ignite like the former. Instead, it offers an engaging drama that only truly shines at its climax.

Jacob Elordi and Diego Calva bring the heat

A significant portion of the buzz surrounding “On Swift Horses” has undeniably centered around its portrayal of numerous appealing actors engaged in sensual exchanges, particularly the seduction scene between Henry and Julius featuring Jacob Elordi and Diego Calva. The film’s director, Daniel Minahan, hails from a more open-minded realm of premium cable and streaming television, as evidenced by his work on shows such as “True Blood,” “Game of Thrones,” “American Crime Story,” and notably for a graphic gay 1950s period piece, the first two episodes of “Fellow Travelers.” The film’s sex scenes are intense and passionate. The characters’ social outings, including one where Henry and Julius celebrate their country by watching a nuclear test together, also leave a lasting impression.

In a very authentic manner, each of the five principal actors delivers a compelling portrayal. Elordi and Daisy Edgar-Jones expertly convey their characters’ unspoken desires, while Calva and Sasha Calle exude charm as the self-assured romantic interests. Although Will Poulter’s character, Lee, seems to have a more straightforward role, he effectively maintains sympathy for him even though it could be simple to portray him as the story’s antagonist.

In my view, it’s the parts of the movie where they introduce villains beyond just societal norms that seem less compelling. An encounter with some tough guys from Vegas felt like the least authentic scene in the film – I couldn’t pinpoint exactly why, but it might have been their acting, the predictable dialogue, or perhaps the overly polished camera work that left me unimpressed. A scene that should have packed an emotional punch instead felt routine. There’s also a later confrontation that serves a clear thematic purpose, but feels more like a forced inclusion to fulfill a “Chekov’s gun” trope rather than adding genuine depth to the story.

The story could use more drive — but finds power in the end

Despite the captivating explorations of complex relationships and hidden gay communities portrayed in “On Swift Horses,” the movie seems to lack a compelling narrative momentum and cohesive structure. Perhaps by trimming some parts to make it 90 minutes long, or extending it into a miniseries for more detailed development of its numerous episodic events, the film could have held my attention better. Towards the end, my interest started to dwindle, although it wasn’t doing anything inherently wrong; it just didn’t fully engage me as I watched.

In the closing moments, the movie “On Swift Horses” manages to strike an emotional chord it had been striving for. It’s a powerful scene that I won’t reveal, but it sheds light on a facet of pre-internet queer culture I hadn’t considered before. This aspect underscores the dangers and uncertainties (the big gamble) as well as the love that makes this uncertain journey worthwhile. It was so poignant that I found myself tearing up. The subsequent ending, while somewhat far-fetched when you reflect on it, effectively continues the romantic intensity of the preceding scene within the framework of melodrama. However, I wish the film had managed to maintain that emotional depth earlier in the story.

“On Swift Horses” opens in theaters on April 25.

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2025-04-01 16:30