‘Marty Supreme’ Review: It’s One Paddle After Another For Timothée Chalamet in Josh Safdie’s Instant New York Classic [A-]
It’s 1952 in New York City, and Marty Mauser (Timothée Chalamet) is stuck on the Lower East Side, fitting a customer for shoes. Being promoted to a managerial track at his uncle’s shoe store isn’t exactly what he’s been dreaming of, but this introduction allows filmmaker Josh Safdie (Good Time, Uncut Gems) to give us the perfect preview into Marty’s world, illuminating not only why he feels so trapped in his current set-up, but also how he plans to use his charm and gumption to claw his way out. Being stuck in a rundown apartment with his mother (Fran Drescher) in a job he doesn’t want feels like something that was predetermined for Marty, but he knows that can’t truly be his fate. He knows he’s destined for something better, and he will achieve that greatness on the ping pong table. Marty Supreme is a sprawling odyssey that chases our titular character around the world, yet at its core, it’s a quintessential New York story about a man with the drive and conviction to chase a dream that only he believes is possible.
Loosely based on the life of professional table tennis prodigy Marty Reisman, Marty Supreme doesn’t function as a typical biopic (or a sports movie for that matter) and instead, finds Safdie and co-writer Ronald Bronstein (Good Time, Uncut Gems) not forcing the film into any one genre. It’s darkly comic in one moment and thrilling in the next, taking shape as a hustle into hell before eventually morphing into a new kind of coming-of-age story. Marty knows he has the potential to be the next big thing in a sport that no one in the U.S. seems to care about yet, but that lack of interest just makes his dedication that much stronger. He has a major tournament in London approaching, where he’ll take on the Japanese sensation Koto Endo (real-life winner of the Japanese National Deaf Table Tennis Championship, Koto Kawaguchi). Just how he finds the money to make it there sets off a cascading series of trouble for Marty that will follow him in comical and anxiety-inducing ways throughout the film. Marty Supreme is a kind of Safdie Brothers film after all, and our protagonist’s luck and misfortune will always be connected to the flow of cash.
In London, Marty quickly realizes just how out of his league he is, not in the arena, but in the spaces away from the table. When he learns that he’s stuck staying in a hostel, he finagles his way into staying at the Ritz under the guise that he needs to sleep well before the tournament. What makes Chalamet so fun to watch in these early scenes is that his Marty Mauser is a modern-day Dickensian rapscallion, with his own great expectations, a shit-eating grin, and a penchant for fibbing his way into the rooms where he doesn’t belong. Marty is only twenty-three years old, and when he runs up the bill as he’s surrounded by the wealthy older men he’s trying to charm and deceive, Chalamet creates a more carefully calibrated spin on Ryan O’Neal’s portrayal of Barry Lyndon. He doesn’t fit their mold, but his drive for status and his commitment to forcing his own belonging make him somewhat irresistible to them. This is especially true when he calls the hotel room of former screen star Kay Stone (Gwyneth Paltrow) and tells her to look at the copy of The Daily Mail, where he notes that he’s described as “The Chosen One” before inviting her to watch him play in the semifinals. Kay is married to the uber-wealthy American Industrialist and tycoon of Rockwell Ink, Milton Rockwell (Kevin O’Leary), and she’s been feeling less than satisfied. She seems to want a bit of excitement in her life, and giving Marty a bit of attention can’t hurt.
Endo’s new silent paddle is too much for Marty to overcome, but his defeat only inspires him to want to make his way to Tokyo for the World Championships. Rockwell complicates these plans, though, as he wants to stage an exhibition match between Marty and Endo, making him both his benefactor and, ultimately, a new enemy. The relationship between a wealthy industrialist and an exciting, younger talent, hesitant to work with them but in need of their backing, is a core tenet of stories about the American Dream (The Brutalist, just last year), and the relationship between Marty and Rockwell could’ve been expanded even further in the script. O’Leary and Chalamet have a great dynamic as performers, and the contrast between the two characters presents some of the film’s most intriguing ideas connected to the American Experiment. Casting O’Leary, known for his appearances on the reality competition series Shark Tank as Mr. Wonderful, is a clever (albeit controversial) choice that plays directly on the audience’s relationship with the television personality. The creativity of casting director Jennifer Venditti (Euphoria, Uncut Gems) extends, of course, to the wide array of supporting performers and cameos (Sandra Bernhard, David Mamet, George Gervin, and Isaac Mizrahi, to name a few), but should be lauded most for bringing Paltrow back to cinemas. With her somewhat limited screentime, Paltrow creates a supporting character whose success and ambition seem diametrically opposed to Marty’s, as his star waxes while hers wanes. As a woman who stepped back from her career to pursue a more secure life with her wealthy husband, her relationship with Marty feels entirely transactional, and Paltrow imbues the character with a deeper interiority than what’s on the page. As she’s on stage in what appears to be a wink at a type of self-serious Tennessee Williams play, there’s beauty and tragedy in Kay because of her years of lived experience. It’s a strong contrast to Marty’s fierce, youthful pursuit of greatness and a pointed note that there are things he won’t be able to understand until he’s lived a bit more life.
By setting the film in the 1950s, Safdie not only flexes and experiments with a new era outside his typical contemporary wheelhouse, but he also wisely plays with anachronism to enrich the film’s world and deepen the script’s themes. Legendary production designer Jack Fisk (Badlands, There Will Be Blood, Killers of the Flower Moon) showcases some of the most impressive work in his storied career, creating detailed New York City streets, magnificent interiors, and sports arenas around the world that feel remarkably tactile. His designs, alongside the detailed, period-accurate work of costume designer Miyako Bellizzi (Good Time, Uncut Gems), immerse the audience in the 1950s and allow their other collaborators to play a bit more with anachronism. While the film is set in the ‘50s, cinematographer Darius Khondji (Amour, Uncut Gems, Bardo) evokes American films of the past that were uncompromising in their depiction of a grittier side of New York City. But perhaps the most striking component of Marty Supreme is composer Daniel Lopatin’s (Uncut Gems) synth pop, New Wave-inspired score. It’s a brilliant soundscape that seamlessly ties in ‘80s era needledrops (Tears for Fears, PiL, Alphaville, The Korgis), while evoking some of the most iconic John Hughes coming-of-age stories. These anachronistic touches are purposeful, though, and link the themes of their respective eras, specifically the Postwar optimism of the 1950s and the levity and attitude of the post-Recession 1980s. There was an underlying darkness in both of those eras, though, and a false belief in prosperity that came at the expense of many Americans. Despite its connection to two eras in the past, the current political attitudes that often reference the “greatness” of the ‘50s and ‘80s make Marty Supreme feel timely.
In stepping away from his brother and filmmaking partner Benny (The Smashing Machine), Safdie leans heavily on some of the duo’s earlier interests and tendencies, but also stretches himself into new territory. Looking at the film’s skeleton, it’s tempting to compare its structure and many detours to those of Uncut Gems, as both films feature much of the same crew and operate as humiliating character studies that follow a man through the trenches in pursuit of money and success. When Marty Supreme focuses on the ping pong and showcases Marty’s prowess in the sport, Safdie’s direction and Bronstein’s propulsive editing are riveting. Yet, as Marty is on the run from the cops after swiping money from his uncle’s store to pay for his travel expenses, the film can get a bit exhausting and repetitive, dragging and sagging in stretches, despite its excitement and chaos. It’s one paddle/battle after another for Marty, as he gets mixed up with Ezra (Abel Ferrara) and his dog Moses, hustles the unwitting for money at a bowling alley with his best friend Wally (Tyler Okonma), and reconnects with his married girlfriend Rachel (Odessa A’zion). While A’zion brings a brashness and feisty spirit to Rachel, there isn’t anything new about this character, as she often feels ripped directly from a Scorsese picture. It’s in these lengthy, violent sequences that it feels like Safdie is retreading familiar territory, leaving viewers itching to return to the surprising thrill of the ping pong arena.
Much will be said about how Chalamet’s real-life star persona compares to Marty’s scrappy, lead-foot-on-the-gas drive towards success. Yes, the similarities are there in spades, but what separates the two and creates a new challenge for Chalamet is that Safdie doesn’t allow for moments of quiet for the character until they matter most. In Chalamet’s past roles, whether it be his breakthrough as Elio in Call Me By Your Name (still his best performance), his jilted Laurie in Little Women (underrated), or, of course, his complex movie star turn as Paul Atreides in Denis Villeneuve’s multi-part Dune saga, Chalamet thrives when he’s able to brood a little bit. What’s exciting about watching Chalamet in Marty Supreme is that he’s finally able to play a New Yorker, never making the character’s over-the-top theatrics feel like loud moments of over-acting. You can feel him itching to create his own take on Pacino. Chalamet and Safdie create an endearing scoundrel who is impossibly irritating and yet, by the time the film reaches its surprisingly emotional conclusion, there is a remarkable shift in feeling towards the character. It’s here that the film channels the coming-of-age genre with a twist, allowing the viewer to come up for air only when Marty finally can. As Chalamet continues to express the same desire for greatness and immortality, it’s impossible not to think of that fire within Marty and vice versa. As Marty becomes hellbent on creating a personalized, orange ping pong ball, it’s hard not to think of Chalamet’s promotional video of men walking around in branded zip-ups with orange ping pong balls over their heads. Linking the performance and the dedication of an actor to that of an athlete and consistently mentioning a desire to be great (i.e., the actor’s much-publicized SAG Awards speech) when promoting a film about an unsung table tennis star is a savvy promotional strategy. Yet, the line between fiction and reality becomes so blurred that the weight of Chalamet’s smart choices as a performer can’t be felt as deeply. Still, the moments when Chalamet slips fully into the character glimmer, marking a major achievement for the actor.
Early in the film, Marty tells Rockwell that he’s “interested in any opportunity to show off his talent.” Marty Supreme certainly does just that for its cast and crew, creating an instant New York classic that joins the canon of films that conjure up the uniquely specific feeling of trying to live in the city. What makes Marty Supreme shine, too, is that it creates a story about the consequences and ripple effects of risking it all on greatness. While the ping pong sequences are the strongest parts of the film, Marty’s story isn’t really about table tennis. It’s about the thrilling hook and the inherent short sightedness of risking it all for something only you believe in. It’s the big bet that you can only have conviction in when you’re young and bold, with the confidence in the world at your fingertips. Everybody wants to rule the world, and time will tell if Chalamet can.
Grade: A-
A24 will release Marty Supreme only in theaters on December 25.
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St. Louis Film Critics Association (StLFCA) Awards: ‘One Battle After Another’ Dominates 
San Francisco Bay Area Film Critics Circle (SFBAFCC) Awards: ‘One Battle After Another,’ ‘Sinners’ Share Most Wins 
Boston Society of Film Critics (BSFC) Awards: ‘Sinners’ Tops for Best Film, Director 
Producers Guild Awards Nominations for Sports, Children’s and Short-Form Programs