On Swift Horses

Tropic Sprockets by Ian Brockway

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Filmmaker Daniel Minahan (“Fellow Travelers”) directs “On Swift Horses,” adapted from the novel by Shannon Pufahl. The film is handsomely executed with compelling cinematography by Luc Montpellier. It is visually reminiscent of the films “Carol” and “Eileen.” While the story lacks charge, it is bolstered by a fine performance by Jacob Elordi (“Priscilla”) which gives the film mystery.

Lee (Will Poulter) has returned from the Korean War swimming with thoughts of the American dream. He wants to buy a house in a California town that is experiencing an employment boom.

Lee’s spouse Muriel (Daisy Edgar Jones ) is uncertain until she catches sight of Sandra (Sasha Calle) who runs a small shop. Muriel is entranced, while the cold Lee is tormented by Julius (Jacob Elordi), a wandering Bohemian and a free spirit. While Lee struggles with his urge to fight his life circumstances, Julius conducts himself in accordance with nature and happenstance.

When Julius stops by with his brother, Muriel looks at Julius and she is like one hypnotized. Lee shrugs off his jealousy. Julius is often left to his own devices, free to wander, mumbling, soporific and spontaneous. While Julius is roaming, Lee simmers with jealousy and confusion over Muriel’s attachment to Sandra.

Meanwhile, Julius becomes a casino supervisor and falls for the pessimistic Henry (Diego Calva). Then Muriel fumes realizing that Julius has stolen money from her.

The romantic entanglements feel soapy and melodramatic with little punch. Every character is either on a path of erotic deception or victimization and every target is lackluster.

Lee is controlling. Miriam is wistful. Julius is mumbling, and Henry is cool and matter of fact. Each role seems to be programmed. There is no real dramatic charge.

That being said, Jacob Elordi has a compelling passive quality similar to James Dean and a photogenic allure. Diego Calva’s coldness is also intriguing.
Narratively one gets the idea: the American dream has a dark side and people react recklessly with caprice, often in big heavily chromed cars.

The story would benefit with some Patricia Highsmith in its hijinks. It is long on its cinematic shadows but short on surprise.

Write Ian at ianfree11@yahoo.com