In Josh Safdie’s latest film, “Marty Supreme,” viewers are immediately ushered into a time-warping experience. Set against the backdrop of the 1950s, the film is infused with a cinematic style reminiscent of the jagged character studies of the 1970s, all while punctuated by anachronistic ’80s music from artists like Public Image Ltd., Peter Gabriel, and Tears for Fears. This deliberate disorientation helps immerse the audience in the tumultuous world of the protagonist, Marty Mauser, a man perpetually at odds with his sense of belonging.
Timothée Chalamet delivers a standout performance as Marty, a ping-pong champion striving to navigate the murky waters of his existence, much like the character in Safdie’s previous work “Uncut Gems.” In this film, Marty is a man whose bravado often exceeds his circumstances, much like a fast-talking shark intent on staying afloat—if he stops moving forward, he fears he will sink.
The plot follows Marty as he juggles his life working at a New York City shoe store while engaging in an affair with Rachel, played by Odessa A’zion. Rachel is caught in a tumultuous relationship with her brutish husband, Ira, portrayed by Emory Cohen. This complicated personal dynamic intensifies when Marty embarks on a ping-pong championship, aspiring to elevate his status and responsibilities beyond his current reality. However, a series of unfortunate events leads to his downfall, branded as the “Defeated American” after losing the championship in Japan, and he returns to New York burdened by debt and the impending arrival of a child with Rachel.
Safdie cleverly populates the narrative with an array of familiar faces to enhance the story’s richness. The film features appearances from notable figures such as Gwyneth Paltrow as the aging movie star Kay Stone and Kevin O’Leary of “Shark Tank” fame, whose business-centric demeanor adds depth to the film’s commentary on ambition and celebrity culture. The casting of other famous New Yorkers reinforces the film’s surreal atmosphere, where the lines between reality and cinematic fantasy blur.
Marty’s character is a study in confidence and brashness, navigating his ambitions as if they were currency. Chalamet captures this duality, illustrating a man who is irresistibly charismatic yet fundamentally flawed. He is reminiscent of a 1970s Al Pacino—captivatingly engaging yet frustratingly oblivious to the opportunities around him.
The film also weaves a broader narrative about the evolution of American entrepreneurism, juxtaposing Marty’s personal journey with a critique of the nation’s obsession with success at any cost. Although he initially shuns the spectacle of exhibition events, he ultimately embraces the outlandish path that leads to his ascent.
Chalamet is wonderfully supported by A’zion’s portrayal of Rachel, who displays her own strength, understanding that her long connection with Marty enables her to inspire him to be better. Gwyneth Paltrow, too, transcends the trope of the fading star, revealing a character in need of validation, echoing Marty’s own struggles for meaning.
Additionally, the visual language of “Marty Supreme” owes much to the expertise of legendary cinematographer Darius Khondji, who brings a restless energy to the film, capturing the frenetic pace of Marty’s life. The score by Daniel Lopatin integrates seamlessly with the film’s narrative, enhancing the viewer’s emotional journey through its vibrant and dynamic soundscape.
Ultimately, “Marty Supreme” is not merely a retread of themes from “Uncut Gems,” but rather a distinct exploration of a character ensnared by his lofty expectations. It’s a thought-provoking tale about the burden of ambition and the quintessential American spirit, making it a standout piece in contemporary cinema. The film captures the essence of what it means to chase greatness, asking poignant questions about identity, purpose, and the lengths one might go to in the pursuit of dreams.