Photo credit: www.thewrap.com
The 1950s are often viewed as a golden age for American culture, a time characterized by vibrant cars, hefty steaks, and an atmosphere that suggested everything was perfect. However, this portrayal often overlooks significant societal issues, particularly for women, people of color, and those in the LGBTQ+ community.
In the film adaptation of Shannon Pufahl’s 2019 novel “On Swift Horses,” directed by Daniel Minahan, viewers are transported back to this period of concealed despair. The story revolves around Muriel, portrayed by Daisy Edgar-Jones, who grapples with an overbearing fiancé, Lee (Will Poulter), a Korean War veteran who seems fixated on marriage to an alarming degree.
Enter Julius, Lee’s irresponsible brother, played by Jacob Elordi, whose charisma and charm might lead one to assume a love triangle is unfolding. Muriel finds herself drawn to Julius, who introduces her to gambling—a stark contrast to her life with Lee. However, as the narrative unfolds, both characters confront their sexual identities, revealing layers of complexity and longing.
Muriel, despite her burgeoning awareness of her own queerness, must navigate an oppressive environment rife with violence and societal disdain for her identity. The film starkly portrays the dangers of their world, where the repercussions of being openly queer are life-threatening. Despite their physical separation, both Muriel and Julius share a palpable desire for authenticity, illustrating the struggles of living openly during a time when such a desire was fraught with risk.
Minahan, along with cinematographer Luc Montpellier, crafts a visually arresting film that captures the nuances of desire and freedom. Private moments between the characters feel liberating—emphasizing the intense yearning that defines their lives. The filmmakers skillfully avoid romanticizing the era’s oppressive nature, threading a delicate line between nostalgia and critique.
Edgar-Jones convincingly portrays a character striving for existence in a world stacked against her. In contrast, Elordi exudes a troubled allure; his character’s struggles highlight the complexities of attraction and emotional vulnerability. When Julius enters a passionate relationship with a fellow gambler, Henry (Diego Calva), moments of genuine happiness emerge, hinting at the deep struggles underlying their lives.
While “On Swift Horses” may lack the meticulous detail seen in films like “Carol,” it offers a fresh perspective on the joys and sorrows of those who seek fulfillment in a repressive society. Minahan doesn’t allow the film to devolve into sheer despair, instead balancing the narrative’s tension with a sense of resilience. The conclusion is thought-provoking, delivering a powerful message about the dangers of oppression, while remaining hopeful about the future.
In its portrayal of the struggles faced by queer individuals and women in the 1950s, “On Swift Horses” serves as a poignant reminder that the fight for rights and recognition is ongoing and should never be taken for granted.
Source
www.thewrap.com