Josh Safdie’s ‘Marty Supreme’: Timothée Chalamet in a Kinetic Sports Comedy

Timothée Chalamet takes on the world of competitive table tennis in Marty Supreme, a new film from Josh Safdie that marks his first solo directorial effort since 2008. The project, arriving in theaters December 25, is being hailed as a uniquely Safdie-esque vision – a blend of sports comedy, character study, and a vibrant recreation of 1950s New York City. The film’s unconventional approach is already drawing comparisons to Safdie’s previous work, like Uncut Gems, alongside elements of films like Catch Me If You Can.

Safdie, a longtime admirer of Martin Scorsese, infuses Marty Supreme with a similar energetic rhythm seen in classics like Mean Streets and Goodfellas. However, the film also firmly establishes Safdie’s distinct voice and his deep connection to New York City, both past and present. While Marty’s journey takes him across the globe – to London, Paris, Sarajevo, Tangier, Cairo and Tokyo – the heart of the story remains firmly rooted in his hometown.

The filmmaking exudes the same swagger as its title character, boasting dynamic visuals, meticulous production design, and a keen eye for casting that extends to even the background performers. These aren’t typical extras; they feel like characters plucked from the street photography of Diane Arbus, Louis Faurer, or Ruth Orkin. Some critics have even drawn parallels to avant-garde filmmaker Ken Jacobs’ 1955 documentary short, Orchard Street.

The film’s soundtrack is also generating buzz, blending Daniel Lopatin’s orchestral score with carefully chosen needle drops that evoke both the 1950s setting and a distinctly 1980s sensibility. The unconventional use of music – opening and closing with Tears for Fears’ “Change” and “Everybody Wants to Rule the World,” respectively – signals Safdie’s willingness to break from tradition. (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.

Marty Supreme draws inspiration from the life of Marty Reisman, a Jewish New York table tennis prodigy in the 1950s who dedicated himself to elevating the sport’s profile. The film reimagines his story through the character of Marty Mauser, played by Chalamet, who is introduced in 1952 working in his Uncle Murray’s (Larry “Ratso” Sloman) shoe shop and carrying on a secret affair with his former sweetheart, Rachel (Odessa A’zion), who is now married. A playfully irreverent title sequence depicts the consequences of their workplace romance in striking detail, set to Alphaville’s “Forever Young.”

Murray hopes to promote his nephew to store manager, but Marty is solely focused on earning his wages and traveling to London to compete in the championship table tennis tournament. When Murray disappears at closing time, Marty attempts to persuade his colleague Lloyd (Ralph Colucci) to hand over cash from the safe, and when that fails, he pulls a gun from Murray’s desk. Whether this act is robbery or simply collecting owed payment, it sets off a chain of events that come back to haunt him in a later, comedic scene.

Chalamet delivers a performance brimming with confidence and a relentless drive, portraying a character who is both charming and unapologetically self-serving in his pursuit of greatness. The performance is already generating awards buzz and solidifying Chalamet’s status as a leading man.

Alongside Rachel, Marty finds support from his friend, taxi driver Wally (Tyler Okonma, also known as rapper Tyler, The Creator), who occasionally partners with him in schemes at Lawrence’s Table Tennis Club, owned by former NBA star George Gervin. However, Marty’s mother, Rebecca (Fran Drescher), vehemently disapproves of his decision to abandon a stable job for a seemingly futile dream.

Once in London, Marty leverages his charisma to secure accommodations at the Ritz, where the table tennis federation is staying. He confidently predicts his victory over the Hungarian champion Béla Kletzki (Géza Röhrig, from Son of Saul), famously declaring, “Look, I’m gonna do to Kletzski what Auschwitz couldn’t.” He then quickly clarifies, “It’s alright, I’m Jewish. I can say that,” prompting a shocked reaction.

At the Ritz, Marty also encounters Kay Stone (Gwyneth Paltrow), a former 1930s movie star who playfully dismisses his admiration for her work, noting she stopped acting long before he was born.

Undeterred, Marty persuades Kay to skip a promotional event for her husband Milton Rockwell’s (Kevin O’Leary) pen company and attend his semi-final match. Despite knowing he’s an opportunist, Kay sleeps with Marty, seemingly drawn to his relentless ambition – a possible echo of her own unfulfilled aspirations. His gaze over her shoulder at the mirror during their first encounter speaks volumes.

Rockwell and his associates attend Marty’s match against Japanese dynamo Endo (Koto Kawaguchi), where he is ultimately defeated. Impressed by Marty’s showmanship, Rockwell offers him a promotional deal in Japan, but Marty refuses to lose on purpose to elevate Endo. He instead joins forces with Kletzki for a halftime novelty act on the Harlem Globetrotters tour.

This sets the stage for a picaresque journey as Marty relentlessly pursues his dream, overcoming setbacks and ultimately reconsidering the offer from Japan. His sudden reappearance after eight months infuriates Rachel, who is now pregnant, and while her husband Ira (Emory Cohen) believes he is the father, she sees Marty as a potential escape. Becoming a father doesn’t align with Marty’s grand plans, but Rachel proves to be a formidable match in cunning and determination.

Safdie orchestrates several uproarious set pieces, showcasing his talent for chaotic energy while allowing the story to breathe. One standout sequence begins in a New York dive hotel where Marty encounters Ezra Mushkin, a crook played with gritty authenticity by Abel Ferrara.

Ezra mistakenly entrusts Marty with taking his dog to the vet, leading to a wild series of events involving Wally and Rachel, a hasty escape from a bowling alley, a gas station fire, a runaway dog, a failed scam, and a shootout in New Jersey during which Rachel risks going into early labor. (Keep an eye out for a cameo from Penn Jillette.)

The use of Public Image Ltd.’s “The Order of Death” during this sequence exemplifies Safdie’s playful approach to pop culture, spanning decades.

Kay reappears while rehearsing for a Broadway play (with Fred Echinger and David Mamet as her co-star and director, respectively), and Marty seeks her out. Rockwell, however, wants nothing to do with the arrogant self-promoter, while Kay remains intrigued, even after Marty attempts to exploit her. His actions to regain Rockwell’s favor are particularly shocking.

Paltrow delivers a nuanced performance, portraying a woman who has traded personal fulfillment for material comfort in a loveless marriage. She taps into a melancholic grace reminiscent of her role in The Royal Tenenbaums, recognizing Marty for who he is while still being drawn to his relentless drive.

Chalamet fully embraces Marty’s abrasive nature, portraying a character who is often unlikeable, yet possesses an undeniable charm and an unwavering internal drive. His hunger for recognition embodies the spirit of New York City itself. Audiences’ reactions to Marty’s eventual transformation into a more sympathetic character will likely vary.

Cinematographer Darius Khondji masterfully synchronizes the film’s electric visuals with the fast-paced editing and Lopatin’s dynamic score. He has a remarkable ability to capture the individuality of faces within crowded scenes. Production designer Jack Fisk’s meticulous recreation of the period, both on set and on location, adds another layer of richness to the film, evoking a stunning photography book of the city in its heyday.

Safdie expertly manages a large ensemble cast, blending seasoned actors with newcomers, including real-life ping pong champions like Kawaguchi. Okonma makes a striking acting debut, as does O’Leary, playing a ruthless businessman. However, Odessa A’zion delivers a breakout performance, bringing a compelling blend of vulnerability and resilience to the role of Rachel.

While some plot threads feel underdeveloped – Marty’s idea of orange ping pong balls, for example – Marty Supreme ultimately succeeds as a kinetic portrait of a life in constant motion. The film is a thrilling and immersive experience that lives up to its reputation as a truly unique cinematic vision.