Director: Josh Safdie
Writers: Ronald Bronstein, Josh Safdie
Cast: Timothée Chalamet, Gwyneth Paltrow, Kevin O’Leary, Odessa A’zion, Tyler Okonma, Abel Ferrara, Fran Drescher

Biographical films about sports players are usually quite intense, often emphasising a protagonist’s hard-won victory by showcasing a life of uphill struggle and overcoming odds and obstacles. While Marty Supreme is loosely based on table tennis champion Marty Reisman and certainly not a strict representation of this time in his life, it presents a more comical side to a man who toes the line between arrogance and confidence and has a desperate need to have and be the best, in all areas of his life. Has Josh Safdie brought something new to the table in terms of sports films, or is this just another he-shoots-and-he-scores, dime-a-dozen athletics competition movie?

In 1952, Marty Mauser (Chalamet) lives and works in New York City with dreams of being a professional table tennis player, his immediate sights set on winning the British Open. By not-so-legal means, Marty manages to make his way to London, where he gets a taste for bigger ambitions within the table tennis sphere, and he meets actress Kay Stone (Paltrow) and her wealthy husband Milton Rockwell (O’Leary). Following a few not-so-minor mishaps and leaving a trail of enemies and damage, Marty eventually finds his way to the World Championship in Japan, searching for glory but perhaps finding some humility and responsibility instead.

As a quick disclaimer, I’ve not seen any Safdie brother movie before, by neither Benny nor Josh nor together in partnership (not even Uncut Gems… I know, I hardly deserve to call myself a cinephile!), so this is my first experience of a Safdie creation. From researching previous work from both Safdies, I see they are quite familiar with comedy and crime/thriller genres, and Josh Safdie shows with Marty Supreme that he understands the genres well and how they can blend to create an entertaining and electrifying film, and that he is capable of doing so sans Benny. The story has all the elements of a crime caper, with Marty’s tunnel-vision when it comes to his ambitions causing him to leave a trail of destruction in his wake, both physically (mobsters, guns, hospital trips) and emotionally (his childhood friend Rachel, played by Odessa A’zion, sticking to him like glue in spite of his treatment of her is a prime example). Safdie also creates incredibly comical moments, some a complete surprise (a bathtub scene still has me chuckling), others a little predictable but performed so well by Timothée Chalamet that they are completely forgivable.

Although the film is set in the ‘50s, it has something of a timeless feel to it. The costumes and sets portray 1950s New York City quite clearly, but the dialogue doesn’t appear to be written or performed distinctly for that era. The post-WWII atmosphere is also clear, none more so than when the Japanese travel ban is mentioned, but as Marty begins to travel the world it gives a wider, almost eternal sense of his restlessness and constant search for something fulfilling. If that doesn’t describe at least half the population of the world at any given time, past, present or future, I don’t know what does. It’s also notable how the world was able to come together in sports competitions after the war. Perhaps it’s a reflection not only of humanity’s constant search for greatness, but Marty’s own search for immortalisation.

Chalamet has been greatly lauded for his performance as Marty, and rightly so. He has grown into an incredible actor with a range that outdoes many of his contemporaries. He may even be the greatest actor of our current generation. At his level of fame, Chalamet could run the risk of struggling to have audiences lose themselves in his characters, seeing only Timothée Chalamet at every turn, but fortunately he is beyond talented enough to pull us in and believe in any character he performs. As Marty he is charismatic, funny (and not just in the jokey way but in a dry way, too) and gives the character the depth he so deserves by the end of the film. Chalamet almost leaves Gwyneth Paltrow in the dust with his performance, but fortunately she too is a terrific performer and gives a great performance as an almost washed-up actress whom Marty sets his eyes on, for both her money and her… er… other assets. Odessa A’zion is the antithesis of Paltrow’s character, bringing Marty closer to earth and never letting him forget where he came from and, possibly, where he truly belongs. She has a great chemistry with Chalamet and helps him to bring out a more emotional side to Marty. Kevin O’Leary’s wealthy Rockwell is the more dominant male figure that Marty perhaps needed in his life to teach him a few lessons, and in spite of this being O’Leary’s first (and so far, only) film role, you wouldn’t know it unless you were told. It seems his own experience as a businessman brought a legitimacy to the role that could otherwise have been lost.

In truth, Marty Supreme has got me very interested in seeing Uncut Gems, Benny’s recent film The Smashing Machine and more of the Safdies’ previous work. Crime-thrillers are not usually my thing but throw in some physical humour and tongue-in-cheek dialogue and I might find them more palatable. Josh Safdie has shown that he can be a success both with his brother and in his own right as a director, and continues to prove himself as a strong writer, if the success of previous projects is anything to go by. With all the accolades and nominations already collected and the upcoming awards ceremonies that have Marty Supreme up for multiple top awards, it’s an exciting time for Safdie, Chalamet and the entire cast and crew.