Absolutely Electric.
If I had to describe “Marty Supreme” in one word, that would be it. Released on Dec. 25, whether it’s the blazingly fast pace or the high-energy performances that permeate every frame, the film isn’t just exceptional; it’s alive.
Directed by Josh Safdie, stepping into solo work after co-directing modern anxiety-inducing classics “Good Time” and “Uncut Gems,” the film follows Marty Mauser, a ping pong player in 1950s New York City, on his relentless quest to become the greatest table tennis player in the world. Marty is completely unconcerned with the wreckage he leaves in his wake, yet remains endearing throughout the film.
This endearment is due in no small part to the performance of Timothée Chalamet, who soars in the role of Marty. Chalamet’s performance dances, with his energy, humor and boyish charm jumping off the screen every line he delivers. His performance truly capturing the sweat, desperation and style of a man who refuses to lose.
Marty’s character is assisted by the pacing of the film, with its speed snapping viewers straight into the hectic brain of Marty. A brain as unpredictable as the film it resides in, a film containing action set-pieces, world travel and sequences which make Ping Pong seem as important as the Super Bowl, an alien invasion and a fight to the death, combined. These events are contained within the many side plots the film has interjecting throughout, piling on top of one another like balanced architectural scaffolding, with each plot thread increasing the tension without collapsing the structure.
Through these many threads, we run into the rest of the ensemble cast. The cast includes Shark Tank’s Kevin O’Leary playing a delightfully malicious pen magnate and Gwenyth Paltrow playing a washed-up actress whose performance exerts a beautifully tangible malaise. Odessa A’Zion, whose performance as Marty’s girlfriend Rachel, perfectly matches the energy of Chalamet and Tyler Okonma (AKA: Tyler the Creator), in his acting debut, whos raw charm and humor add perfectly to every scene he’s in.
Paired with the pacing, electricity permeates the atmosphere of the film, with the electronic synth-filled, energetic score of Daniel Lopatin bringing an almost futuristic sound to the movie. The electric score of Lopatin bounces off the beautifully sharp cinematography of Darius Khondji. Khondji’s shots make the film drip with a saturated and sweaty 1950s aesthetic, bursting with grey and brown, as well as jolting shots of popping color. There is a shot of Marty running through the streets of 1950s New York, where the energy of the cinematography is perfectly on display, with pedestrians, frame blur and hectic speed sending viewers flying alongside Marty
“Marty Supreme” doesn’t lose tension for a second, with the music, visual identity and performances, injecting every frame with tangible color and electricity. Marty Supreme is a rare film where every element is perfectly balanced, a true masterpiece to be regarded for years. “Marty Supreme” is not just fantastic, not just electric. “Marty Supreme” is alive.
