REVIEW: ‘On Swift Horses’ Comes to Life on the Big Screen But May Have Been Better Left On the Page
Ready to leave their Kansas roots behind, newlyweds Muriel (Daisy Edgar-Jones) and Lee (Will Poulter) are ready to start their new life in sunny California. When Lee’s brother, Julius (Jacob Elordi) returns from the Korean War, Lee convinces him to join him and Muriel in California. However, Julius decides to make a pit stop in Las Vegas before joining his brother and sister-in-law, where he takes employment in a casino. It is here he meets Henry (Diego Calva), who will change his life in ways neither of them ever expected. While Julius’ life is unfolding in Vegas, Muriel is finding it hard to adapt to her new life. Feeling as thought something is missing, she sets out to find out that missing piece. From gambling on racehorses to exploring her sexuality with her new neighbor, Sandra (Sasha Calle), Muriel is on her own journey of self-discovery that may or may not blow up in her face.
Based on the novel by Shannon Pufahl, On Swift Horses comes to life on the big screen, but may have been better left on the page. Set in the 1950s, this is a story of being queer in the 1950s and the oppression many faced because of it. This is a story of a man and woman exploring love within their own genders, but writer, Bryce Kass doesn’t do enough to justify either of their stories. He failed to go inside the minds of the characters to help shed light on why they were doing what they were doing. In books, it is easy to find out what the character is thinking because it is written on the page, in a film it is so much harder. The writer has to add dialogue to help the audience better understand how the character is feeling and Kass missed the memo.
The relationships among the characters also weren’t explored. The audience shouldn’t have to read the book to understand the dynamics between the characters. It should be spelled out throughout the film. There should be scenes that dive deeper into the relationships that ultimately help explain what drives the characters. The audience shouldn’t be left wondering how these characters connect or why they ended up falling in love. It should all be there in the script.
Edgar-Jones is the standout in the mediocre film. She takes what she is given to her on the script and delivers it with ease, but she could have done so much more. Her performance could have truly made an impact if only her character had been better developed. Elordi’s performance, on the other hand, falls flat. His character didn’t have enough meat and Elordi couldn’t evoke enough emotion to truly highlight the hardship Julius was facing in the 1950s. Whether this was due to poor writing or poor directing, his character ended up feeling unfinished when all was said and done. The only character that really felt fleshed out with Poulter’s Lee. This was mainly due to Lee being a secondary character. He is just there to help elevate Muriel and Julius’ story, and he does well with what he is given.
On Swift Horses could have been a great melodrama, but the story doesn’t do enough for its characters. If the story sounds intriguing, give the book a read before watching the film. Otherwise, hold off on seeing this one until it is out On Demand. This way you have the option of turning it off whenever you would like.
Grade: D