On Swift Horses delivers a powerful narrative wrapped in sensual imagery and emotional depth, setting the stage with two striking visuals: the heat of intimacy and the strategic shuffle of cards.
We meet Muriel (played by Daisy Edgar-Jones), in an intimate moment with Lee (Will Poulter), a soldier fresh from the battlefield in Korea, their passion mingling with the lingering uncertainties of war. On the other side of this triangle, Lee's brother Julius (Jacob Elordi) is traveling towards them, freshly discharged and holding nothing but his bag and a deck of cards. His arrival in Kansas, just before Christmas, paints a picture of a family momentarily complete, nestled in the warmth of Muriel’s home, a space inherited from her mother. The house, beautifully spacious, adorned for the holidays, feels like the perfect place to start a family – the dream home for many. Yet, it’s a place of tension too, as Lee dreams of a future in California. He imagines life after the war, beckoning Muriel and Julius to join him, but, like many dreams, it feels distant and maybe even unreachable.
Director Daniel Minahan, with his deep experience in TV, from Six Feet Under to Fellow Travelers, masterfully brings Shannon Pufahi’s novel to life on the big screen. Every shot is rich with breathtaking landscapes and colors, transporting the audience to an America brimming with promise, where space and opportunity felt limitless. This is the kind of grand, sweeping romantic drama that Hollywood seems to have left behind – and yet, it's one we've been missing.
But the core of On Swift Horses isn’t just a simple love story. It's a deeply layered, emotionally complex triangle that branches out into a web of complicated relationships. Lee marries Muriel, but Muriel harbors a deep, unspoken longing for Julius. As for Julius, his feelings for her seem tangled in a mixture of admiration for his brother and an unspoken tension that goes far beyond familial bonds. Both characters eventually find solace in other lovers, but their connection remains, cemented through letters that Lee remains blissfully unaware of.
While Muriel is navigating her own identity in her marriage, Julius meets Henry (played by Diego Calva) during a stint at a Las Vegas casino. This encounter ignites a passionate, tumultuous love affair that challenges Julius’s understanding of love and ambition. Henry, wild and ambitious, seems to push Julius further than anyone else has, both emotionally and physically. On the flip side, Muriel, while staying true to her husband's image at home, slips into a forbidden romance with her neighbor Sandra (Sasha Calle), a woman boldly living as a lesbian despite societal scorn. Muriel and Sandra’s connection is playful, secretive, and exciting, but it lacks the raw passion that Julius and Henry share. This contrast leaves the audience questioning the true depth of Muriel’s feelings – does she genuinely care for Sandra, or is she simply caught up in the thrill of it all?
Both Muriel and Julius find a shared thrill in gambling. For Julius, it’s cards; for Muriel, it’s the thrill of betting on horses. Their parallel lives, full of risk, deception, and indulgence, serve as a metaphor for their love lives, which teeter dangerously close to exposure. Muriel hides not just her gambling money but her true desires, carefully balancing her double life. She’s a woman who goes home to her husband every night, but her heart and mind are often elsewhere. Lee, oblivious to it all, remains focused on his dream of California, unaware of the layers of deceit within his own home.
And Julius? He may appear to be running from responsibility, especially when he avoids coming home, but his lifestyle, filled with risk, gambling, and passion, is far more honest. Over time, his journey forces him to confront his demons, leading to a deeply personal transformation. His story, in many ways, is the emotional crux of the film.
Jacob Elordi shines as Julius, giving what might be his most nuanced performance to date. He brings a tender vulnerability to the role, especially in his love scenes with Calva. Their connection feels raw and palpable, as they explore each other in a dreamlike motel room. Calva, whose standout performance in Babylon two years ago put him on the map, proves he’s only just begun to show his range. Their scenes together are not just passionate but charged with emotional complexity, elevating the narrative from a mere love affair to something far more intricate.
Meanwhile, Daisy Edgar-Jones’s portrayal of Muriel is subtle yet deeply affecting. This role, her most substantial since Normal People, allows her to convey Muriel’s internal struggles through quiet gestures and longing looks. Muriel is a woman trapped, not by anyone else, but by her own fear of reaching her full potential. She tries to force herself into a conventional life with Lee, but deep down, she knows she can't breathe in such a confined space. Edgar-Jones’s performance is a delicate balancing act, one that showcases her growth as an actress.
Then there’s Will Poulter, who takes on the role of Lee, the quintessential ‘50s husband chasing the American Dream. He’s not a villain; in fact, there’s nothing particularly wrong with him, which makes it even more tragic. He’s simply a man who wants a stable life, a wife, and a future in California. Poulter plays him with just the right mix of earnestness and naivety, allowing the audience to feel sympathy for him, even as we root for Julius and Muriel to break free from the conventional life he represents.
Sasha Calle’s Sandra, meanwhile, offers a refreshing contrast to the other characters. She’s not hiding, nor is she running away. Sandra simply is – a woman living her truth, unapologetic and strong. Her relationship with Muriel is a key subplot that highlights the shifting societal norms of the time. Sandra wants to live her life out in the open, refusing to conform to society’s expectations, and Calle’s performance strikes just the right note of defiance and vulnerability.
Ultimately, On Swift Horses is a story about love in all its forms – the passionate, the forbidden, the unspoken, and the unconditional. It explores how love can shape us, tear us apart, and even define the lives we choose to live. It's not just a love story; it's a commentary on the choices we make, the risks we take, and the lives we build along the way.
This is a film that demands to be seen on the biggest screen possible. It’s visually stunning, emotionally complex, and it will leave you thinking long after the credits roll. Let’s hope this film marks the return of the grand, romantic epics we’ve been craving. On Swift Horses isn’t just a movie; it’s an experience.
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