On Swift Horses begins by showing us two images: sex and a deck of cards.
Muriel (Daisy Edgar-Jones) is making love to Lee (Will Poulter), a soldier on leave from Korea. Meanwhile, Lee’s brother Julius (Jacob Elordi) has already been discharged from the war and is on his way to meet them both in Kansas, with only his bag and those cards. It’s almost Christmas and Lee wants Muriel to marry him, but she still hasn’t given her answer. Even so, the mood between them is light and fun. When Julius arrives, for a moment, they are one big happy family in Muriel’s cozy, secluded home, which she inherited from her mother. Spacious, lived-in and lovingly decorated for the holidays, it’s the exact kind of house one could imagine raising a family in. But Lee has dreams of California, and he wants Muriel and Julius out there with him when the war’s over. It’s a dream that sounds too good to be true, but he doesn’t know it yet.
On Swift Horses
The Bottom Line
A sweeping heartbreaker that feels both classic and fresh.
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Venue: Toronto International Film Festival (Special Presentations) Cast: Daisy Edgar-Jones, Jacob Elordi, Will Poulter, Diego Calva, Sasha Calle, Don Swayze Director: Daniel Minahan Writer: Bryce Kass
1 hour 59 minutes
On Swift Horses is the kind of big, sweeping romantic drama that Hollywood just doesn’t make anymore. Director Daniel Minahan — a veteran of the small screen for many years, from Six Feet Under to Fellow Travelers — fills every widescreen shot with gorgeous landscapes and sumptuous colors, fully transporting us to a time when space was abundant and America felt full of possibility.
The film, based on the book of the same name by Shannon Pufahi, is an emotionally complex love triangle that branches out into something even more complex. Muriel marries Lee while pining for Julius — who seems to have much more complicated feelings for her, mixed in with a genuine love for his brother. Over time, both Muriel and Julius find other lovers, while writing each other all the while without Lee’s knowledge. Julius meets Henry (Diego Calva) while working at a casino in Las Vegas, and the two begin a passionate, caustic love affair. Down in the valley, Muriel skips work to fool around with her neighbor Sandra (Sasha Calle), a woman living openly as a lesbian despite the stigma. With Henry, Julius finds a man even wilder than him, full of endless ambition. But when it comes to Muriel and Sandra, it’s harder to tell if the feelings are real.
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Both Julius and Muriel love to gamble, but while cards are his poison, she prefers betting on horses. Much like their shared vice, their queer love lives are just as dangerous. Even though Muriel comes home every night to her husband, he knows nothing of the life she leads while he’s away. Hiding her gambling money in their home, Muriel tries to maintain her double life without having to take the real risk of being alone. And though she sees Julius as a coward for not coming home to her and Lee, his life of risk is more honest, and over time he begins to confront his own demons.
Elordi gives his best performance yet as Julius, showing his more sensitive, vulnerable side on the big screen for perhaps the first time. His love scenes with Calva are tender and exciting, the men exploring each other’s bodies in a dreamlike motel room. Calva proves his memorable turn in the underrated Babylon two years ago was just a warm-up. He’s got so much more to offer.
In perhaps her meatiest role since Normal People, Edgar-Jones gives an understated performance as Muriel, letting us get to know her through subtle gestures and expressions. Muriel is a woman hiding from her own potential, trying to fit herself into a neat little box, all the while knowing that she can’t breathe once inside. Poulter’s Lee is not cruel enough for us to root against him, but there isn’t much for him to do beyond stand in as a symbol of everything Julius and Muriel want to run away from. A talented comedic actor, Poulter is convincing as the stereotypical ‘50s husband, reaching for his piece of the American dream. And then there’s Calle, who plays Sandra as a woman in the middle — not wanting to fly free or hide, but rather make the world accept her for who she is right out in the open.
On Swift Horses is about the shapes love can take, the varied lives we live and the many different ways one can make a home. It’s beautiful, heartbreaking and demands to be seen on the biggest screen possible. Here’s hoping it brings the romantic epic back into fashion.
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Full credits
Venue: Toronto International Film Festival (Special Presentations) Director: Daniel Minahan Writer: Bryce Kass Cast: Daisy Edgar-Jones, Jacob Elordi, Will Poulter, Diego Calva, Sasha Calle, Don Swayze Producers: Peter Spears, Tim Headington, Theresa Steele Page, Mollye Asher, Michael D’Alto, Executive Producers: Nate Kamiya, David Darby, Claude Amadeo, Randal Sandler, Chris Triana, Joe Plummer, Jenifer Westphal, Joe Plummer, Christine Vachon, Mason Plotts, Alvaro R. Valente, Bryce Kass, Lauren Shelton, Jeffrey Penman, Jacob Elordi, Daisy Edgar-Jones Director of Photography: Luke Montpellier Composer: Mark Orton Production designer: Erin Magill Editors: Robert Frazen, Kate Sanford, Jor Murphy Art Directors: Kate Weddle, Elizabeth Newton
1 hour 59 minutes
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Pottel, directed by Sahith Mothkuri and starring Ajay, Yuvachandra, and Ananya Nagalla in pivotal roles, is a rural drama that delves into the socio-cultural issues of the 1970s. The movie, which captivated audiences with its intriguing title, was released in theaters in October and recently debuted on OTT platforms Amazon Prima and Aha. With music by Sekhar Chandra, the film aims to strike an emotional chord with its thought-provoking narrative.
Plot Summary: The story is set in a remote village during the 1970s, where the powerful Patel family dominates the region. Believing that education empowers people to question authority, the Patels discourage the villagers from pursuing it. Mallanna (Chatrapathi Sekhar), who recognizes the importance of education, dreams of educating his son Gangadharam (Yuvachandra). However, his efforts are thwarted when Patel (Ajay) kills him to maintain control over the village.
The villagers revere a local deity, Balamma, and Patel manipulates their beliefs to suppress dissent. Gangadharam grows up in this oppressive environment, determined to bring change. He marries Bujjamma (Ananya Nagalla), defying her brother and societal norms.
Meanwhile, the village observes a ritual every 12 years, offering a Pottel as a sacrifice to their deity. This time, Gangadharam is tasked with overseeing the ritual. The stakes are high, as failure to perform the ritual properly could have dire consequences for him. Caught between his goal of educating his daughter and empowering the villagers, and the ritualistic traditions, Gangadharam faces immense challenges from Patel. How he overcomes these obstacles forms the crux of the story.
Analysis: The film effectively portrays the socio-political dynamics and superstitions prevalent in rural India during the 1970s. The director highlights the dominance of landlords like the Patels and their efforts to maintain control by keeping the marginalized sections uneducated. The screenplay weaves these themes with clarity, emphasizing the need for education as a tool for empowerment.
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The movie also sheds light on superstitions and rituals like animal sacrifices, which were exploited by the powerful to manipulate the weak. The village itself feels like a character in the story, with its landscapes and traditions adding depth to the narrative. The realistic portrayal of the struggles and resilience of rural communities enhances the film’s authenticity.
Performances: Yuvachandra delivers a compelling performance as Gangadharam, capturing the character’s struggle and determination effectively. Ajay excels as the antagonist Patel, portraying the role with authority and menace. Ananya Nagalla impresses with her portrayal of Bujjamma, adding emotional depth to the story. The supporting cast, including Chatrapathi Sekhar, performs within the scope of their roles, contributing to the narrative’s strength.
Technical Aspects: Cinematography by Monish Bhupathiraju stands out, beautifully capturing the rural and forest backdrops, adding an immersive visual quality. Music by Sekhar Chandra complements the narrative well, with both songs and background score enhancing the emotional impact. Editing by Karthik Srinivas ensures a cohesive flow, although some scenes feel slightly stretched. The authentic depiction of rural settings and customs adds to the film’s credibility.
Final Verdict: Pottel is a sincere attempt to address important social issues like education, empowerment, and superstition through a rural narrative. While the film’s pacing and predictability in certain areas might deter some viewers, its emotional core and relevant themes make it a worthwhile watch for those interested in rural dramas.
1 of 5 | Robbie Williams appears behind the scenes of his biopic “Better Man,” in theaters Dec. 25. Photo courtesy of Paramount
LOS ANGELES, Dec. 21 (UPI) — Robbie Williams is the latest subject of a musician biopic. Better Man, in theaters Dec. 25, takes such a wild approach that it easily stands apart from films like Walk the Line and Bohemian Rhapsody.
Williams got the performing bug at age 9 in a school performance of The Pirates of Penzance. As a teenager, he auditioned to be in a boy band and landed a spot in Take That.
Williams went solo after friction with the band but still struggled to write original lyrics. By Better Man‘s accounts, Williams had a similar cinematic trajectory as Johnny Cash or Freddie Mercury.
However, Better Man represents Williams as a talking monkey. Director Michael Gracey explains in a pre-film video that he took Williams literally when the singer called himself a performing monkey.
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So this is a Planet of the Apes visual effect. It’s Williams’ voice but Jonno Davies performing the reference footage, along with a few other performers for elaborate dance scenes.
The film never gets used to having a monkey as the lead character, a real-life figure who is still alive at that. It never ceases to be off-putting, especially when Williams sings and dances elaborate choreography, and that is part of the film’s power.
Now, when Williams goes through the stereotypical spiral into drugs and alcohol, watching a monkey recreate those scenes is avant-garde art. The visual effect captures Williams’ charm and emotional turmoil, so it’s not a joke.
It only becomes more shocking the more famous Williams gets. Once he starts sporting revealing dance outfits, even more fur is on display.
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It’s not even a movie star embodying Williams. There’s neither the real Williams nor an actor’s persona to attach to the film, removing yet another layer of artifice but replacing it with an even more jarring one.
As if one monkey isn’t daring enough, Williams’ inner demons are also visualized as monkeys. So many scenes boast monkey Williams staring at disapproving monkeys too.
Other biopic traditions include a scene where Williams sings a rough demo of his future hit “Something Beautiful” and confronting his absent father (Steve Pemberton) over abandoning him. The biopic tradition of showing photos of the real Williams during the credits actually breaks the spell when audiences can see he was not an actual monkey.
The monkey is the boldest leap Better Man takes but it is not the only one. A disco ball effect lights vast outdoor locations, and the film includes a climactic action scene.
Musical numbers are dynamic, including a romp through the streets of London in an unbroken take. A duet between Williams and lover Nicole Appleton (Raechelle Banno) evokes Astaire and Rogers.
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The film embodies Williams’ irreverent spirit, as if a drama starring a monkey could ever be reverent. In his narration, Williams is self-deprecating, and some of the dance numbers blatantly injure pedestrians in their choreography.
The new arrangements of Williams’ songs add dimensions to his hits.
Better Man is bold cinema. The audacity alone is worth celebrating, but the fact that it works is a miracle.
Fred Topel, who attended film school at Ithaca College, is a UPI entertainment writer based in Los Angeles. He has been a professional film critic since 1999, a Rotten Tomatoes critic since 2001, and a member of the Television Critics Association since 2012 and the Critics Choice Association since 2023. Read more of his work in Entertainment.