Exploring Complex Relationships in 'On Swift Horses'
A Mixed Bag of Emotions
Daniel Minahan's film, On Swift Horses, left me with conflicting feelings. While it isn't a completely disorganized piece, some of its storytelling felt disappointingly mundane.
The ability of the film to evoke such a strong sense of betrayal indicates that both the director and writer Bryce Cass have tapped into something significant. Unfortunately, the narrative struggles to navigate the theme of 'forbidden love' that was prevalent in the 1950s.
As it delicately explores the landscape of fragile emotions, the story encounters unexpected obstacles, many of which are rather uninspired.
Muriel's Yearning
Upon meeting the enchanting protagonist Muriel, portrayed by Daisy Edgar-Jones, I was reminded of Madhabi Mukherjee's Charulata from Satyajit Ray's classic. Muriel embodies a deep yearning for something her unfulfilling marriage cannot offer.
The arrival of her strikingly handsome brother-in-law, reminiscent of Soumitra Chatterjee in Charulata, ignites Muriel's suppressed desires. This leads her from a state of boredom to a more liberated existence, defying the constraints expected of a 1950s American housewife.
Julius's Journey
Meanwhile, Muriel's brother-in-law Julius is exploring his own boundaries in Las Vegas. Unfortunately for Muriel but fortunately for her marriage, he is gay. The scenes depicting Julius's encounters with Henry, played by Diego Calva from Narcos, are infused with a vibrant energy that the rest of the film lacks.
Wishy-Washy Marital Dynamics
Muriel's relationship with her husband Lee, played by Will Poulter, comes across as rather lackluster, a convenient choice by the screenwriter. Thankfully, Lee is not depicted as an abusive alcoholic, but the stark contrast between him and Julius is evident, influencing Muriel's attraction to her brother-in-law.
The first appearance of Julius, confidently shirtless, starkly contrasts with the more reserved portrayal of Soumitra Chatterjee in Charulata.
A Film of Contradictions
The film is rich in a melancholic atmosphere, yet it feels overly calculated and lacking in depth. Why does Muriel need to engage in a secretive relationship with her eccentric neighbor Sandra, even as she is drawn to her husband's brother? Her husband, sensing the tension, cautions her that Julius is not 'one of us.'
The delicate dynamics in On Swift Horses are occasionally undermined by clichéd writing. These captivating characters deserved a more thoughtfully crafted narrative.