Josh Safdie’s “Marty Supreme” Delivers a Kinetic, Idiosyncratic Triumph with Timothée Chalamet
A thrilling and audacious new film, “Marty Supreme,” marks a pivotal moment in Josh Safdie’s career – his first solo directorial effort since 2008, yet paradoxically his most definitively “Safdian” work to date. Released on Thursday, December 25th, the movie, propelled by a captivating performance from Timothée Chalamet, is a genre-bending sports comedy, a character study, and a vibrant evocation of 1950s New York City, all rolled into one.
Safdie, long an admirer of Martin Scorsese, infuses “Marty Supreme” with a palpable energy reminiscent of classics like “Mean Streets” and “Goodfellas.” However, the film also establishes Safdie as a distinct auteur, deeply connected to the past and present of his hometown. While the narrative follows Marty’s globe-trotting ambitions – taking him to London, Paris, and beyond – New York City remains the film’s emotional core.
The movie distinguishes itself through its visual flair and meticulous attention to detail. “There’s swaggering confidence in the filmmaking to match that of the title character, along with adrenalized visuals, fine-grained production design and scrupulous attention to casting,” one observer noted. The casting choices, in particular, eschew typical Hollywood faces, instead opting for individuals who feel plucked from the street photography of artists like Diane Arbus and Louis Faurer. Comparisons have even been drawn to Ken Jacobs’ avant-garde documentary short, “Orchard Street.”
A key element sparking conversation is the film’s bold use of music. From Daniel Lopatin’s orchestral score to carefully selected needle drops, the soundtrack seamlessly blends the 1950s setting with a distinctly 1980s aesthetic. The unconventional choice to open and close the film with Tears for Fears – “Change” and “Everybody Wants to Rule the World,” respectively – immediately signals Safdie’s willingness to defy expectations. (The inclusion of Peter Gabriel’s “I Have the Touch” is particularly exhilarating.) This sonic landscape reinforces the idea of Marty as a boundless dreamer hurtling toward the future.
The fictional narrative draws inspiration from the life of Marty Reisman, a Jewish New York table tennis prodigy who, in the 1950s, sought to elevate ping pong to the same level of respect as other major sports. Chalamet embodies Marty Mauser, a character introduced in 1952 working in his Uncle Murray’s (Larry “Ratso” Sloman) Lower East Side shoe shop and engaging in a clandestine affair with his former sweetheart, Rachel (Odessa A’zion), who is now married. The opening sequence, characterized by its irreverent humor, visually depicts the consequences of their workplace romance, set to Alphaville’s “Forever Young.”
Driven by ambition, Marty aims to compete in the championship table tennis tournament in London, leading to a series of increasingly desperate actions. When his uncle is unavailable, Marty attempts to secure funds from the office safe, ultimately resorting to pulling a gun from Murray’s desk – a move whose implications will unfold later in the film.
Chalamet delivers a compelling performance, portraying Marty as a relentlessly self-assured young man fueled by “chutzpah, amorality and unshakeable self-belief.” He is supported by Tyler Okonma (aka Tyler, The Creator) as Wally, a taxi driver and occasional accomplice, and Fran Drescher as Rebecca, Marty’s disapproving mother.
Upon arriving in London, Marty’s audacious personality quickly shines through, securing him access to the Ritz, where the table tennis federation is staying. He confidently predicts victory over the Hungarian champion, Béla Kletzki (Géza Röhrig), with a provocative statement that draws shocked reactions: “Look, I’m gonna do to Kletzski what Auschwitz couldn’t.” He also encounters Kay Stone (Gwyneth Paltrow), a former movie star, whom he charms into attending his semi-final match. Their subsequent encounter leads to a complex dynamic, with Kay recognizing Marty’s opportunism yet succumbing to his relentless drive.
Marty’s performance attracts the attention of Milton Rockwell (Kevin O’Leary), a businessman who offers him a promotional opportunity in Japan, contingent on losing matches against the Japanese dynamo Endo (Koto Kawaguchi). Rejecting this compromise, Marty instead joins the Harlem Globetrotters for a series of trick shot exhibitions with Kletzki.
This sets the stage for a picaresque journey as Marty relentlessly pursues his dream, navigating setbacks and ultimately reconsidering his options. His sudden reappearance after eight months throws Rachel, now heavily pregnant, into turmoil, and she turns to Marty as a potential escape from her marriage to Ira (Emory Cohen). While fatherhood doesn’t align with Marty’s ambitions, Rachel proves to be a formidable match in cunning and determination.
The film’s set pieces are particularly noteworthy, showcasing Safdie’s ability to orchestrate controlled chaos. A standout sequence unfolds in a New York dive hotel where Marty crosses paths with Ezra Mushkin (Abel Ferrara), a crook whose dog requires veterinary care. This encounter triggers a chaotic chain of events involving Wally and Rachel, including a bowling alley escape, a gas station fire, a runaway dog, a failed scam, and a shootout in New Jersey, with Penn Jillette making a memorable cameo. This sequence is underscored by the hypnotic rhythm of Public Image Ltd.’s “The Order of Death.”
Paltrow delivers a nuanced performance as Kay Stone, a woman who has traded personal fulfillment for material comfort. “Playing a woman who has traded personal fulfillment for material comfort and security as a trophy wife in a loveless marriage, she taps into a melancholy, fractured grace,” a critic observed. She recognizes Marty’s flaws yet remains drawn to his unwavering ambition, perhaps as a reminder of her own lost aspirations.
Chalamet fully embraces Marty’s abrasive personality, portraying him as a flawed yet strangely endearing underdog. His relentless pursuit of recognition embodies the spirit of New York City itself. The extent to which audiences connect with Marty’s eventual transformation into vulnerability remains to be seen.
The film’s visual language, expertly crafted by cinematographer Darius Khondji, mirrors the film’s frenetic energy, complemented by Jack Fisk’s meticulous production design, which evokes a bygone era of New York City. The ensemble cast, blending seasoned actors with newcomers, including real-life ping pong champions, further enriches the film’s authenticity. Odessa A’zion delivers a breakout performance as Rachel, portraying her initial intoxication with Marty and her subsequent resilience with remarkable depth.
While not every subplot is fully developed – the orange ping pong ball idea, for example, serves as a humorous but ultimately minor element – “Marty Supreme” remains a captivating portrait of a life in constant motion. As one reviewer put it, the film is “a kaleidoscopic, kinetic and madly idiosyncratic” experience, a “wild ride” that encapsulates the energy and ambition of its protagonist and the city that inspires him.
