In an early scene from Josh Safdie’s solo directorial debut, Marty Supreme, the titular character encounters a problem. Although the store where he works has the shoe size his customer is looking for, Marty isn’t satisfied and strives to sell a smaller size, or possibly a more expensive shoe. Unmoved by his customer’s discomfort, he happily lies to satisfy his sense of self-importance. This is the first of many lies which Marty utilises as stepping stones to getting what he wants. The ease with which he bends the truth and manipulates people without hesitation is a fascinating aspect of this relentlessly driven and reckless character.
Marty Mauser is not interested in being a great table tennis player. He wants to become a world-renowned and famous athlete, beyond what the sport has ever seen. However, due to his stubborn ways, he is cash-strapped, resorting to dubious methods for a flight to London where the prestigious British Open takes place. While abroad, Marty’s over-confidence and boldness lead to new relationships, opportunities and new problems. With the World Championships on the horizon, Marty persists through a chaotic New York odyssey, encountering numerous obstacles and dangers in the hopes of achieving his lofty aspirations.
Despite being a sports film, many of which follow a similar formula, Josh Safdie keeps much of his creative sensibilities intact, crafting an experience which is just as anxiety-inducing as Uncut Gems (2019 ) and Good Time (2017 ). The screenplay is truly remarkable, refusing to give in to expectations or conventional plot progression. When you think the film might be starting to slow down or move in a predictable direction, the film takes another hard turn, introducing another element of surprise. You can really feel the time and thought that went into the storytelling because of its intricacy.
Not only is the writing impressive, but the 1950s period detail as well as the attention given to making Mauser’s community as textured and naturalistic as possible is commendable. This was an aspect of Safdie’s previous films which I always admired. Filling the film with faces and background characters that are unlike anyone you see in contemporary films. They are just as interesting to look at and listen to as Chalamet or his other recognisable co-stars. That, along with the fast-paced editing, grainy shot-on-film cinematography and extreme close-ups emphasise a grimy version of New York reminiscent of films from the 70s such as Taxi Driver (1976 ) and The French Connection (1971 ).
At 150 minutes, the constant frantic energy of the film can become exhausting but it feels intentional. Every moment of Marty’s life feels like one that cannot be wasted and the duration captures that feeling. Fortunately, Chalamet gives probably his best performance yet, imbuing Marty with his own charisma and charm that, combined with his character’s amoral behaviour, make for a very endearing character and ultimately an emotionally involving character study.
Also featuring some surprisingly gnarly moments of violence and dialogue which makes you question whether you should laugh or not, this has the same lightning bolt effect that Uncut Gems (2019 ) exuded and shouldn’t be missed while in cinemas.
In Galway cinemas now.
