Revue “ on Swift Horses '': Jacob Elardi in a psychodrama of the 1950s

Which seems at first glance to be your post -war standard love triangle – made up of oil and water brothers and a woman with a household in Cagey – is more revealed as a multifaceted lust crystal and a desire in the romantic melodrama very made “on fast horses”.

Unpacking The novel by Shannon Pufahl 2019Director Daniel Minahan plants a foot in the territory of Douglas Sirk while looking at Todd Haynes. But just at the moment when the fascinating disorder of central characters arouses the peak interest, you realize that the serious commercial flicker of this film will never turn into a denser and darker poetry. It is a beautiful film on sublimated lives and the need to free yourself, the one that feels torn between presenting the surface appeal of these desires in a repressive period and exploring something deeper.

For an hour, however, he has the pop and the attraction of a medium -sided soap opera which benefits from a franchise listed in R. muriel (Daisy Edgar-Jones) Accepts to marry his beautiful, Lee (Will Poulter), returning from a passage in the Korean War, and uproot their life from Kansas to go there in South California and brilliant and brilliant. The lee cynical card of a brother, Julius (Jacob Elordi), was supposed to be part of this dream movement, but the call of the game takes Julius to Las Vegas instead.

What, for Lee, is the disappointment of the variety of garden not to have a family around, it is, in Muriel, a more intangible sexual absence that it cannot articulate beyond an interest in the attraction of risk. A very discreet anxiety in the representation of Edgar-Jones transmits his new life in the suburbs of San Diego. Already gifted to hide cigarettes, Muriel begins to lie about his communication with Julius, while keeping her earnings from racing betting (acting on advice heard at his restaurant work).

Julius, on the other hand, becomes a card shirt observer for a casino as an act of atonement for his thief manners – it is easy to buy the vision of Elordi on the thug sensitivity of the 1950s. But high in the stifling bridges above the game tables, he meets the transplant of Tijuana sexy and Franc Henry (Diego Calva) And suddenly, the other concealment vein in prudent and cynical life by Julius – being gay – is in danger of deactivating in a consumer passion. (Metaphor alert: The search for thrills Henry drags Julius to the desert to watch bombs' tests.) The sleeping attractions of Muriel are also tested separately, by the neighbor Latina Sandra (Sasha Calle), who meets her for the first time, holds a palm tree if Muriel, trying her first olive, can fuck the pit. Someone's list of secrets is about to lie down.

The scenario of Bryce Kass full of incident kept Minahan occupied, but the twin stories and their dangers in the moment of space ultimately overwhelm the discomfort which make the first half of “fast horses” so palpably inside the conception of period production and the crisp cinematography of Luc Montpellier. Minahan, a veteran of television, finally falls into the trap of episodic management, to the point where the characters lose their individuality in the growing dependence of history with regard to constructions, gestures and manufacturing points.

The actor is a saving grace, in particular the commitment of Edgar-Jones to the nuance and the refreshing Lee of Poulter, whose depth of consciousness at a critical moment is a credible surprise, beautifully manipulated by the actor. Only Elardi, variously treated like Beefcake and Brooder, seems lost by trying to square Julius' vulnerability with the romance full of hope of the final act. His great outcome is supposed to be a catharsis for a deliberately corrective edge of emotional history. But it rather resembles an easy evacuation hatch when what “on fast horses” promised was a richer psychological landscape of what is royal in hearts accustomed to hiding.