“On Swift Horses” takes place in the 1950s and explores an unconventional love triangle. Two brothers, Korean War veterans who couldn’t be further apart in ideals, but still love each other. In-between is one of the brother’s wife. All three have dreams…and two of which were really hard to come by with 1950s homophobia being so prevelant.

One need only watch a couple of episodes of “Leave it to Beaver” to comprehend just how ideal and perfect family life in the 1950’s was portrayed. Only that was a façade and real life was much different, especially for anyone who wasn’t a straight white male … and even many of those served in the military during the Korean War and/or faced the pressure of being the ‘head of the household’ so to speak. Daniel Minahan directs the screenplay from Bryan Kass, who adapted the 2019 novel from Shannon Pufahl.

Daisy Edgar-Jones is Muriel, a young woman who reluctantly accepts the wedding proposal from Lee (Will Poulter). In keeping with the times, Lee has his dreams of a new house in the then growing suburbs of the San Diego Valley area in California. They shared somewhat reluctantly with Muriel, yet he’s also a bit annoyed by her reluctance to sell her childhood Kansas house she inherited from her recently deceased mother for the down payment. A third wheel pops up in the form of Lee’s direction-less younger brother Julius (Jacob Elordi), who has recently been discharged from the Navy.

An intriguing connection forms between Muriel and Julius, and it continues playing out through the entirety of the story. While Lee strives for the traditional American dream, Julius and Muriel separately maneuver through their own internal emotions that don’t easily slide into the life that 1950’s ‘respectable folks’ are expected to follow. Both have a bit of hustler in them as Muriel uses her saavy during shifts as a diner waitress to pick up tips on the next horse race, while Julius capitalizes on his Las Vegas casino surveillance job with the mob no less – and is the thing that brings him both some good money and true love. Or does it?

Two well done supporting roles are courtesy of Diego Calva as Henry, and Sasha Calle as Sandra. To give away too much here would be to reveal spoilers that just deserve to be seen and understood. What I can say is the story takes us from Kansas to California to Las Vegas to Tijuana. Along the way, we witness the challenges faced by those, to put it politely, were out of step with society. We see the deceits required as these characters walk the line between what’s expected and their true path to follow each of their true dreams. It can be heartbreaking and frustrating, and the film shoots down the façade of the perfect 50’s “Leave it to Beaver” lifestyle.

The acting is well thought out, with Daisy Edgar-Jones seamlessly capturing the look of the era, but also a bit far-fetched at moments as while they have no money, her wardrobe is top-notch. But that’s the movies. Jacob Elordi fulfills a more heavy role, but beware of the young teen girls who “oooh and ahhh” at misgiven points. This is a film for those who appreciate climbing inside the characters to understand their longing.

“On Swift Horses” has it’s unintenial campy moments, but overall it’s a good reveal to the struggle faces by so many in the 1950’s. But just as I wasn’t there, I’ve read many books on this subject matter and many filmgoers can’t even imagine what it was like then. I will forever salute the brave men, women and everyone who stood up to homophobia to paved the paths to what we have now, even while it’s trying to be once again, taken away.

Admittedly, the pacing is deliberate and the tone sombre, which again, can alienate those who stare at 30 second reels all day. But for those who appreciate a film whose message matches its content that doesn’t patronize its audience, they will find it rewarding.

Grade: B-

“ON SWIFT HORSES” is now playing in theaters.

Review Screening: Thursday, April 10, 2025 ~ Courtesy of Sony Pictures Classic and The Cherry Picks