As a history nerd of the highest order, 1950s period pieces and I have a complicated relationship. In fact, as far back as the 1950s, we’ve seen the decade often depicted through the exact same pair of rose-colored glasses. We’ve long heard about the decade’s conformity and its conservatism. While this does define the prevailing view of the 1950s, the truth is more complicated. Period piece On Swift Horses hits theaters this week, painting a traditionally beautiful picture of the era. However, will the drama break the usual mold? Or is this the same Jello mold we’ve had time and time again?
On Swift Horses
On Swift Horses follows Muriel and Lee (Daisy Edgar-Jones and Will Poulter), a young married couple trying to get their feet under them in the late 1950s. As they struggle to establish their life together in suburbia, they follow the story of Lee’s brother, Julius (Jacob Elordi), a restless soul struggling to find himself in and around the lights of Las Vegas. Will these youngsters find the happiness for which they’re each desperately searching? Diego Calva and Sasha Calle co-star in the movie. Daniel Minahan directs On Swift Horses from a script by Bryce Kass.
Jumping right in, there’s one thing that needs to be said. Will Poulter is having a heck of a 2025. On Swift Horses is the young actor’s third film in as many months. With Warfare and Death of a Unicorn barely in the rearview mirror, his work as Lee once again shows just how good he is in a role, where, admittedly, I wished he had more to do.
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Lee’s story is a challenge for the narrative. I continually want to cry that his character could have more depth. At the same time, though, through Lee, the story examines the complexity inherent in masculinity during the post-World War II era. Through this lens, Lee isn’t simply a Ward Cleaver-like, boring cog in the story. Instead, we see this young husband as a recently returned veteran who’s just trying to move forward. He doesn’t know how to communicate everything he’s going through. Poulter’s deeply internal performance highlights a quiet power that particularly shines as the film reaches its conclusion.
There’s tremendous charisma in all these performances. It barely needs to be said that Minahan’s camera loves Jacob Elordi. The young actor easily brings a James Dean-like ability to pull focus with the slightest glance. He belongs in this era.
It’s the supporting characters who dominate, though. Diego Calva and, particularly, Sasha Calle serve as poignant reminders of everyone struggling to live their truth in this era. Calle gives a beautifully understated performance. At the same time, though, her easy and magnetic chemistry with Daisy Edgar-Jones demonstrates the powerful bond these women share.
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Meanwhile, the film’s beautiful set and costume design ground On Swift Horses firmly and beautifully in its environment. At times, in fact, it feels that these characters are outcasts in their own world. They dress the part in glorious costumes, but they never feel truly at home. This is a powerful overarching theme, relevant certainly to the struggles of those trying to lead alternative lifestyles during the time, but also for many simply trying to exist. Culture, as it always has, had specific ideas, and those who didn’t live up to them strained under the weight of the expectations.
When all is said and done, On Swift Horses pulses with a restrained humanity. This is a study of characters who don’t quite know who they are in a period where it was difficult to find that out. The film is deeply in touch with the tragedy inherent in that theme. Nothing about this is oversimplified, as On Swift Horses is a rare work that seems to understand the 1950s was more than simply Leave It to Beaver. At times, it plays a bit long, but these performances easily shoulder the load and are able to keep audiences invested.
On Swift Horses opens in theaters nationwide on April 25, 2025.
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