Exploring the Allure of "On Swift Horses": A Film Review
The Charismatic Jacob Elordi Takes Center Stage
When Jacob Elordi graced the Saturday Night Live (SNL) stage, it seemed the writers were star-struck, with nearly every skit fixated on his astonishing beauty. Standing at 6’5", his striking features and enigmatic charm left everyone, including the audience, breathless. Emerald Fennell, director of Saltburn, could hardly resist, casting him as Heathcliff in her upcoming adaptation of Wuthering Heights—a decision that stirred a mix of anticipation and skepticism.
Now, we turn our gaze to Daniel Minahan’s latest venture, On Swift Horses. This film might be the boldest in its quest to aestheticize and sexualize Elordi’s presence, with every moment meticulously crafted to highlight his allure.
Julius: A Complex Character Steeped in Myth
Upon our first encounter with Elordi as Julius, the character ambles down a snowy road, shuffling a deck of cards—an immediate hint at what’s to come. Is he merely a character or a mythologized symbol of the American outlaw? In reality, he’s a bit of both, but undoubtedly steeped in the latter.
Julius arrives at the Kansas home of his brother, Lee (Will Poulter), and his fiancée, Muriel (Daisy Edgar-Jones). In a scene dripping with sensuality, Muriel gazes out the window to find Julius lounging on a snow-covered car hood, shirtless and smoking a cigarette. The juxtaposition of snow and seductive imagery—a bold visual metaphor—forces viewers to question if this is mere eye candy or a significant plot device.
A Lush Visual Feast
Despite my initial skepticism towards On Swift Horses, the film gradually endeared itself to me. Minahan, a confessed sensualist, fetishizes beauty in all its forms: people, lavish interiors, horses, and the captivating allure of Las Vegas’s neon lights, with Elordi as the centerpiece. Set against the backdrop of the 1950s, each frame of the film resembles a meticulously curated mid-century coffee table book—gorgeous to behold yet narratively sluggish.
Muriel’s Inner Turmoil: A Quest for More
From her first glance at Julius, Muriel finds herself utterly enchanted; he embodies everything she craves: sex, danger, and adventure. Lee, on the other hand, represents steadfast stability—diligently proposing to Muriel and seeking a life devoid of chaos. Their move to San Diego, anticipated to involve Julius, ultimately leads to tension when he chooses Vegas instead.
In San Diego, Muriel’s obsession with Julius leads to newfound restlessness. She immerses herself in the vibrant world of horse racing, staking bets and secretly eavesdropping on tips from seasoned jockeys, accumulating winnings while concealing her success from Lee under the guise of selling her childhood home. This awakening raises questions about her identity: Is Muriel an emerging lesbian, or simply a woman yearning to escape the claustrophobia of middle-class domesticity?
Julius in Las Vegas: A Different Kind of Intimacy
Meanwhile, Julius, now thriving in the bustling streets of Vegas, engages in a dual life as a hustler and casino operative, discreetly observing gamblers through a two-way mirror. His relationship with Henry (Diego Calva), a Mexican immigrant, unfolds as an unexpected romance—one marked by both intimacy and tension. Their chemistry culminates in lavish sex scenes, beautifully shot and loaded with visual metaphor. At times, Elordi graces the screen drenched in sensuality, reminiscent of Richard Gere’s iconic performance in American Gigolo.
The Stakes Rise
With Henry proposing a high-stakes theft from the casino, the tension mounts. The tiny gold pistol Henry wears hints at a darker undercurrent—an indication that the heist could lead to dire consequences.
A Journey Back to San Diego
Julius eventually makes his way back to San Diego, bringing a horse with him—a symbolic act laden with irony. “I thought you had a ranch!” he jokingly remarks to Lee, who quips back, “It’s a goddamn ranch house”—the film’s only true punchline.
Throughout On Swift Horses, the exaggerated sensuality elicits mixed laughter and intrigue, particularly a scene where Muriel meets an attractive woman who, amid complaints about the heat, engages in a slow, tantalizing self-massage with an ice cube. Though the film revels in aesthetic pleasures, it steers clear of depth. Still, Daisy Edgar-Jones’s portrayal as the yearning Muriel and Will Poulter’s earnest Lee stand out, giving the film emotional anchor points.
Final Thoughts on Elordi’s Performance
Elordi, in his role as Julius, effortlessly commands the screen, embodying the perfect object of desire. While his character may lack depth, the film undeniably succeeds in showcasing Elordi’s charisma.
In the grand tapestry of On Swift Horses, beauty and desire intertwine seamlessly, inviting viewers on a captivating journey through love, longing, and identity in a post-war America that feels both alive and sensuously fleeting.
For deeper insights into the film and its themes, you can explore sources like Rotten Tomatoes and IndieWire, where film analysis and critiques abound.
