On Swift Horses

by Mike McGranaghan

On Swift Horses opens with a steamy sex scene that’s an indication of what’s to come. If you wear glasses, your lenses might steam up. If you don’t, your eyeballs might steam up. Movies generally seem to be afraid of tackling the subject these days, at least in a serious, non-exploitative manner. This adaptation of Shannon Pufahl’s novel absolutely depends on sex in order to work. The story deals with hidden passions coming to the surface, so if it was tamer, it simply wouldn’t have any impact.

Muriel (Daisy Edgar-Jones) and her husband Lee (Will Poulter) are planning their life together now that he’s returned from the Korean War. It involves pooling their money and moving from Kansas to California with Lee’s troubled brother Julius (Jacob Elordi). A connection clearly exists between Muriel and Julius. His freeform lifestyle seems exciting to her in a way that domesticity does not.

The couple makes the move, while Julius detours to Las Vegas, where he gets a job at a casino and begins a passionate relationship with co-worker Henry (Diego Calva). Missing him, Muriel starts looking to bring adventure into her own life. She starts off betting on horseraces using tips she overhears at the diner where she’s employed. Then she begins a same-sex affair with her neighbor Sandra (Sasha Calle), all while trying to convince Lee that she shares his desire for upward mobility.

The feature debut of Emmy-winning television director Daniel Minahan, On Swift Horses focuses on the idea of “reality.” Julius is constantly prattling on about the importance of living authentically. He does this by relegating himself to the fringes of society, though. Only after meeting Henry does he contemplate taking his own advice. Muriel, meanwhile, contorts herself into a traditional domestic way of life that she only thinks suits her. Once she gives herself permission to fool around, a newfound sense of liberation takes over – one that clashes with the guilt she feels over hiding her extramarital activities from Lee.

At times, the motivations for the characters’ specific choices aren’t crystal clear. The dialogue occasionally has them speaking in riddles. But the film nonetheless draws you in with its portrayal of people attempting to be true to themselves, even when it comes with a cost. There’s a fundamental truth here about how happiness is only truly achieved through self-honesty. Great emotion is wrung from that idea, especially in the second half.

Despite needing to be a little more fleshed out in certain areas, the film benefits from strong, heartfelt performances. Daisy Edgar-Jones beautifully captures the thrill Muriel gets from shedding her good-wife image and embracing the chance to take risks. The actress’s sensitive turn guarantees you want to follow this woman wherever her journey takes her. Jacob Elordi does something similar, showing how the aimless Julius faces the fear of getting what he secretly wants – a relationship that’s more than a mere one-night stand. Poulter, Calva, and Calle do excellent supporting work, each of them adding significantly to the strength of the story’s themes.

Back to those sex scenes. They’re vital in conveying how Muriel and Julius evolve as people. Notably, the Muriel/Sandra sex scenes and the Julius/Henry sex scenes have real tenderness to them, despite their graphic nature. On Swift Horses uses such sequences the way they’re meant to be used, i.e. to serve the plot rather than to titillate the audience. With that quality and the first-rate acting, the movie is a relationship drama that occasionally breaks your heart but eventually touches it.

---