Michael Wood, a renowned film critic, delivers a penetrating analysis of Josh Safdie’s highly anticipated new film, Marty Supreme. This engaging review unpacks a raw, high-energy cinematic experience, exploring profound themes of second chances, the messy truth of reality, and the performative nature of life itself. Safdie’s latest solo directorial effort is a masterclass in dynamic storytelling, featuring Timothée Chalamet in a role that perfectly embodies the film’s blend of absurdity and urgent drama. Wood’s critique establishes Marty Supreme as a thought-provoking addition to Safdie’s unique filmography, destined to spark conversation among cinephiles.
Unpacking Josh Safdie’s Distinctive Cinematic Vision
Marty Supreme immediately signals Josh Safdie’s signature style, even without his brother Benny by his side. The film pulses with the raw energy and crowded visuals characteristic of their joint projects like Uncut Gems (2019). Safdie masterfully employs commonplace sayings, presenting them as if they hold profound wisdom. This technique, also evident in Uncut Gems, deliberately highlights how often people mistake clichés for genuine insight.
Richard Brody’s theory, referenced in Wood’s review, offers a crucial lens for understanding Safdie’s approach. Brody suggests this isn’t about messy realism. Instead, it’s a direct reflection on the inherent messiness of real life. It acknowledges that events in the world are frequently absurd, unbelievable, and filled with astonishing twists. Marty Supreme refines this style, making its use of clichés feel more controlled and perhaps even ironic. Characters often perceive their own lives as if they are starring in a movie, blurring the lines between reality and performance.
The Paradox of Second Chances in a Chaotic World
At its heart, Marty Supreme grapples with a central paradox. A character boldly states that second chances simply don’t exist in this world. Yet, the film’s narrative completely contradicts this assertion. Wood points out that in Marty’s reality, characters are constantly offered numerous opportunities, only to spectacularly squander most of them. This dynamic fuels the film’s relentless pace and emotional intensity, reflecting a deeply human struggle with self-sabotage and aspiration.
The plot frequently borders on parable, a narrative quality shared with Uncut Gems. This approach emphasizes the common human condition of lacking vast wealth. Characters perpetually exist on the cusp of a potential breakthrough. They are always one lucky gamble away from riches, or one pawned item away from ruin. This constant yearning for a stroke of luck highlights the precariousness of their existence.
Timothée Chalamet as Marty: A Study in Theatrical Desperation
Timothée Chalamet delivers a captivating performance as Marty, the film’s protagonist. Wood describes him as ridiculously young, perpetually wearing glasses, and projecting an almost timeless innocence. This facade starkly contrasts with Marty’s desperate actions. Early in the film, a defining scene sees Marty holding up the New York shoe store where he works. His goal is simple: secure cash for a ticket to England.
This act of “double acting” is brilliantly executed. Marty waves a gun at a colleague, adopting a theatrical gangster persona. Is he truly menacing, or just playing a part? His urgent need for money makes the situation serious. However, his exaggerated, flashy performance renders it almost farcical. This tension between genuine desperation and performative flair is central to Chalamet’s portrayal. Marty gets the money, but the scene leaves a lasting impression of a character constantly navigating life as if it were a stage.
The Absurd Quest for Table Tennis Glory
Marty’s reason for traveling to England is strikingly absurd: he wants to compete in the British Open table tennis competition. Many characters within the film, and likely viewers, find this ambition laughable. Yet, this element of the ridiculous never diminishes the drama of the fiercely contested games. This balance is a true cinematic tour de force by Safdie. The director shrewdly focuses on the suspenseful late moments of matches, rather than the tiring stretches leading up to them. The ball often goes off-screen, seemingly gone for good, only to miraculously return, maintaining relentless tension.
In London, Marty achieves an improbable victory against the reigning champion, Béla Kletzki (played by Géza Röhrig). However, he is ultimately defeated in the final by Japanese competitor Koto Endo (Koto Kawaguchi). This loss sets the stage for the film’s driving force. Marty spends the rest of the film obsessively seeking funds for a rematch in Tokyo, a quest that spirals into multiple chaotic sub-plots across New York. These include theft, arrests, a collapsing bathroom, and a search for a lost dog that culminates in a petrol station fire.
Allegory and Empire: Deeper Meanings in the Games
Amidst Marty’s escalating chaos, Safdie and co-writer Ronald Bronstein weave in potent allegorical layers. The table tennis matches transcend mere sport, carrying significant historical weight. Before defeating Kletzki, Marty provocatively declares he will “do what Auschwitz failed to do,” quickly adding, “I’m Jewish, I can say that.” This jarring comment injects a raw, self-aware historical commentary into the personal struggle.
Later, the highly anticipated Tokyo contest is framed with even greater allegorical resonance. The entire film seems to suggest the match will be a “sporting repeat of Hiroshima.” It represents Japan’s chance for revenge and America’s propensity for repetition. Close-ups of the audience, including a crowd of American GIs, visually reinforce this powerful double narrative. This bold choice elevates Marty Supreme beyond a simple sports drama, embedding it with complex geopolitical and historical reflections. Michael Wood’s analysis highlights how Safdie consistently challenges viewers to look beyond the surface.
The Haunting Score of Daniel Lopatin
The film’s atmosphere is profoundly enhanced by Daniel Lopatin’s (also known as Oneohtrix Point Never) haunting musical score. Wood describes it as feeling more like a “parallel opera” than a conventional soundtrack. The music becomes an “aural story” in itself, conveying victory, suspense, defeat, and romance with an emotional depth that dialogue alone cannot achieve. Lopatin’s composition is integral to the film’s identity, adding a layer of immersive storytelling that resonates long after the credits roll.
Climax and Nuanced Thematic Resolution
The climax of Marty Supreme unfolds as Marty purposefully throws the exhibition match in Tokyo, as planned. Yet, in a pivotal moment, he delivers an impassioned speech. He confesses his predicament and pleads for the “second chance” that the film’s opening dialogue declared non-existent. Remarkably, the organizers, the crowd, and even his opponent, Endo, agree to grant him a legitimate rematch.
The ensuing final game is a “predictable close call” but plays out spectacularly. Wood concludes that the ultimate winner of this match is less significant than the film’s broader implications. A victory for Marty could suggest that “crazy persistence may be rewarded and American imperialism can be romantic.” Conversely, an Endo victory would serve as a powerful reminder of “sober probability and all the other sides of empire.” This nuanced resolution, typical of Safdie’s work, allows for multiple interpretations. It provides a rich, complex thematic ending, ensuring the film’s resonance regardless of the literal outcome.
Michael Wood’s insightful critique demonstrates his characteristic depth. He consistently delves beyond surface narratives to uncover philosophical questions and socio-political undercurrents. His reviews, often like the film itself, celebrate complex storytelling. This positions Marty Supreme as a compelling and intellectually stimulating cinematic achievement.
Frequently Asked Questions
What themes does Michael Wood identify in Marty Supreme?
Michael Wood’s review highlights several core themes in Marty Supreme. He identifies the paradox of “second chances” in a world where characters frequently squander opportunities. Wood also emphasizes the film’s reflection on the “messiness of the real,” distinguishing it from simple messy realism. Crucially, he delves into the allegorical layers, noting the film’s provocative allusions to historical events like Auschwitz and Hiroshima within the context of table tennis matches. Finally, Wood points out the film’s exploration of “crazy persistence” versus “sober probability” in its nuanced ending.
Who are the key actors and characters in Josh Safdie’s Marty Supreme?
The central character in Josh Safdie’s Marty Supreme is Marty, portrayed by Timothée Chalamet, who embodies a blend of youthful innocence and desperate theatricality. Other notable characters include actress Kay Stone, played by Gwyneth Paltrow, whose calm demeanor provides a contrast to the film’s chaos. Marty’s girlfriend, Rachel, is played by Odessa A’zion. His primary table tennis rivals are Béla Kletzki, played by Géza Röhrig, and Koto Endo, played by Koto Kawaguchi, who becomes the focus of Marty’s quest for a rematch.
What makes Daniel Lopatin’s score for Marty Supreme particularly noteworthy?
Daniel Lopatin’s musical score for Marty Supreme is described by Michael Wood as a “parallel opera” that profoundly haunts the entire film. It stands out because it acts as an “aural story” in itself, rather than just a background soundtrack. The music effectively conveys deep emotions like victory, suspense, defeat, and romance, often serving as the primary messenger for these feelings throughout the narrative. Its unique contribution enhances the film’s emotional depth and complex atmosphere, becoming an integral part of the storytelling.
