Timmy Supreme
Film
Not unlike Josh Safdie's previous film, Uncut Gems, Marty Supreme begins with another semi-intrusive, introspective shot from within a character. Instead of a shot of Adam Sandler's colonoscopy in Uncut Gems, we're treated to a tracking shot of sperm making the journey to fertilize an egg after Marty Mauser (Timothée Chalamet) and Rachel Mizler's (Odessa A'zion) affair in the basement of a shoe store.
The Safdies love a blatant yet playful insinuation of their lead character's fallibility. While Sandler's Howard Ratner was full of shit and had his head so far up his own ass, Mauser's world revolves around sex, balls, and the pursuit of greatness. As ethereal and strange as an opening can get, Safdie and his frequent non-sibling co-writer Ronald Bronstein do wonders in highlighting the immature and boyish nature of their lead in one introductory title sequence, all ending with the aforementioned fertilized egg being morphed into a ping pong ball. Sex and balls, right?
But that isn't all there is to Marty Supreme; it's just a mild characterization of the titular character's motives. The only higher priority for Marty is becoming the world's greatest table tennis player.
Safdie cleverly uses Chalamet's boyish charm to craft a grifting narcissist so potent in his Sisyphean pursuit of greatness, as a proclamation of American exceptionalism, that it's borderline painful watching him exist. From his temper tantrum after losing in the first act to the new Japanese sensation Koto Endo (Koto Kawaguchi) to his pursuit of finding enough money to get to the World Championships in Tokyo, Marty Mauser is an outrageously grating presence. An unscrupulous degenerate who is willing to lie, cheat, and steal his way to the mountaintop of table tennis glory.
But that's the bread and butter for Safdie and Bronstein's filmmaking. Good Time, Uncut Gems, and now Marty Supreme all feature swindlers in their own right, but these characters are all tremendously entertaining due to the tour de force performances put into them. Robert Pattinson and Sandler both put in against-type performances that were mesmerizing to watch, and now Chalamet has shot himself into the stratosphere (or on top of the Vegas Sphere) with another bar-raising piece of work. His rapid pace delivery fuses with Safdie's hyper-kinetic directorial style to create an electric pace and a simply sensational viewing experience. In what's been a young yet storied career for Chalamet, he's quite frankly, never been better.
On the technical side, Daniel Lopatin's score is the perfect partner for Chalamet and Safdie's operatic fable. Fluttering between hypnotic and energetic, the composer has crafted a perfect pitch for the film, often being highlighted in scenes of chaos where the shouting fades away and leaves Lopatin's chords to do the talking.
The writing aids Chalamet's performance as Safdie and Bronstein serve him up some incredible lines, elevating his magnetism to another degree. His rash actions, condescending and atrocious demeanor, saying he'll drop a third bomb on Endo in their match, put Mauser squarely in the anti-hero category, but once again, Chalamet is just too good to root against. The actor is as magnetic as ever and the character is equally as ambitious, weaving the ethos of a classic underdog sports story into every fiber of a chaotic Safdie film. In all honesty, Safdie's style works perfectly with the emotions of sport. The thrill of a win, the despair of defeat, and the tumultuous journey in between all compliment the sweaty, anxious direction of Josh Safdie.
Beyond the lead, his co-stars are just as excellent. A'zion is another perfect match for Safdie's style and has terrific chemistry with Chalamet. From her work on Rachel Sennott's new show, I Love LA, she can ramp up the energy needed to succeed in Safdie's fast-paced, electric cinematic approach. Not to mention her terrific lead performance in Pools. Even Tyler Okonma (Tyler the Creator), who makes his feature film debut as Marty's hustling friend Wally, does a fantastic job committing to the physicality of his character, delivering great comedic moments, and bouncing lines off of Chalamet's Marty in hilarious fashion.
Safdie and Bronstein's writing certainly gives a lot for Chalamet to chew on, but there's plenty of meat left on the bone for everyone to have a good meal.
However, not all of the story worked for me. While the table tennis scenes are some of the most fun I've had watching the sport, they're cinematic feats of excellence exploding off the screen, the two writers deliver the same story just in a different package. The middle of the film sees Mauser scrambling between all sorts of misadventures to try and scrape together enough money to get to Tokyo, and I couldn't help but feel an overwhelming sense of déjà vu.
It felt too similar to Uncut Gems and even Good Time in a way where Safdie's directorial style falls into the same lockstep patterns, frantic motion, and anxiety-laden mishaps galore. The only difference-maker here is the transcendent work of Chalamet, who effectively pulls the film out of any rut and onto more exciting roads. I know this is just Safdie's approach, in terms of visuals, but strip away the bells and whistles and Chalamet, Sandler, and Pattinson are all running through the same rat maze of trying to find money for some superfluous goal. Risking it all, for the glory of nothing.
That said, the production design from Jack Fisk and set decoration from Adam Willis allow the film to look exquisite in its 1950's New York aesthetic. Chalamet's anxious scrambling through the stores and streets feels authentic and looks the way too. For all the hype the marketing campaign has been making about Marty Supreme feeling like New York, it certainly succeeds. With all of its performative power and technical prowess, Marty Supreme, even with some rehashed story elements, is one of the best films of the year. Which is an exciting outcome for Josh Safdie, who enters into his solo-directing era with Marty Supreme after making his prior two films with his brother, Benny. It's evident that Josh has a strong vision for cinematic moments and a terrific feel for pacing as I didn't feel any of the two and a half hour runtime.
A testament to the American spirit, for better and for worse, Safdie's ball-laden exposition of the pursuit of greatness is a phenomenal film and a mighty entertaining time.
Froth
If we're having some good old fashioned GOAT talk about Marty Mauser (or Marty Reisman who the character is based on) we may as well throw in a GOAT-centric beverage to lift our spirits. Seeing as these debates are often filled with strenuous shouting. Wheelie Pop Brewing was happy to oblige with their aptly named Kareem Abdul-JaBEER, a Hazy IPA that is as delightful to drink as it's name is hilarious. Can't a guy love a good pun? Nevertheless, Kareem Abdul-Jabbar is an absolute icon and wholeheartedly in the NBA GOAT debate, which makes this beer feel like a spiritual match to Marty Supreme in our collective pursuit of witnessing the greatest compete in their sports. It's a moderately bitter beer, which helps to not overwhelm the palate just like Safdie's chaotic direction doesn't go full Uncut Gems and give you heart burn. Its light tropical flavor, it is slightly more pineapple forward than anything, is delightful and refreshing and makes it ultimately a very very drinkable brew. Marty Supreme to me is the most easily watchable and enjoyable Safdie film and it only makes sense to have an equally enjoyable and drinkable beer filled with great flavor beside it.
