“We’re looking for a real asshole, and you’re it.” That’s how director Josh Safdie tried to convince Kevin O’Leary of Shark Tank fame to play an intense ink-pen tycoon in Safdie’s 1950s-set sports dramedy Marty Supreme. O’Leary, the entrepreneur and investor known as “Mr. Wonderful,” was unfazed. He had heard the same thing 17 years earlier, when Mark Burnett’s production company recruited him for the American version of a Japanese reality TV show.
“I say this asshole thing’s starting to work for me,” O’Leary jokes about making his acting debut opposite Timothée Chalamet and Gwyneth Paltrow. “I am not an asshole. I just tell the truth, and some people don’t like it. I think maybe I’m going to become the honorary chairman of all assholes everywhere after this. And it’s a job I’m happy to take.”
Marty Supreme is filled with dynamic visuals, 1980s synth-pop needle drops, and other arresting non-actors, including Isaac Mizrahi, Abel Ferrara, and John Catsimatidis. But O’Leary steals most of his scenes as Milton Rockwell, a no-nonsense New York multimillionaire in a loveless marriage to trophy wife Kay Stone (Paltrow), a former Hollywood star. Chalamet’s pushy Lower East Side ping-pong prodigy Marty Mauser—who is still living with his Jewish hypochondriac mother (Fran Drescher), schtupping his married ex-girlfriend (Odessa A’Zion), and grifting with his pal (Tyler Okonma, a.k.a. Tyler, The Creator)—sees the patrician couple as a means to realizing his dream of becoming the world tennis-table champion.
Milton is taken with Marty’s talent, but he’s no easy mark. Marty’s a hustler with chutzpah; when talking about an opponent who’s a Holocaust survivor, he boasts to a journalist, “I’m gonna do to Kletzski what Auschwitz couldn’t.” Yet Milton tells Marty that he can “smell bullshit from a mile away.” The CEO wants Marty to throw a series of company-sponsored exhibition matches against his deft rival, Koto Endo (Koto Kawaguchi, the real-life winner of the Japanese National Deaf Table Tennis Championships), in Japan. But the ambitious competitor just can’t agree to the deal.
“What I love about this film is it’s a chronicle of the birth of the American dream right after the optimism of the Second World War,” O’Leary tells me. “Yes, it’s got a crazy, kinetic roller-coaster [energy]. But Marty’s like every Shark Tank hustler.”
Lisa Liebman
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