In 'Marty Supreme,' Academy Award-nominated cinematographer Darius Khondji meticulously reconstructed the gritty, bustling essence of 1950s New York, leveraging atmospheric techniques and innovative lensing. Collaborating closely with director Josh Safdie and production designer Jack Fisk, Khondji drew inspiration from period photography, particularly Helen Levitt's work, to craft a visually authentic backdrop for the film's narrative. His strategic use of haze machines added a tangible layer of urban atmosphere, creating a distinct visual separation that underscored the film's observational style and immersed audiences in a bygone era.
The film, starring Timothée Chalamet as Marty Supreme, a hustler with aspirations of grandeur through table tennis, unfolds in a meticulously recreated 1952 New York. Khondji's approach was deeply informed by Safdie's vision, particularly the idea of portraying New York's inherent 'greediness' and atmospheric pollution. This was achieved by introducing haze into street scenes, ensuring that a subtle visual veil consistently lay between the audience and the characters, enhancing the sense of period realism and thematic depth. The cinematography was not merely about historical accuracy but also about conveying the internal struggles and external environment shaping Marty's journey.
A pivotal aspect of Khondji's work involved framing the interactions between Marty and Gwyneth Paltrow's character, Kay Stone, a fading film star. A notable scene at the Ritz Hotel in London, where Marty first encounters Kay, exemplifies this. Khondji's camera gracefully tracks Kay's entrance, capturing her regal presence, followed by a sequence where Marty and Kay communicate from separate rooms. This innovative split-scene approach, conceived by Safdie, allowed for a nuanced portrayal of their evolving relationship, highlighting both connection and distance through visual composition. Khondji credited Safdie for pushing boundaries in filmmaking, allowing for such experimental and emotionally resonant techniques.
Throughout the production, Khondji predominantly employed a 360mm anamorphic Cinemascope lens, a choice that proved instrumental in defining the film's aesthetic. This particular lens provided a unique perspective, emphasizing distance and observation, which was crucial for portraying the characters' emotional states and their interactions within the expansive New York landscape. Khondji deliberately filmed at the actors' eye level, creating an intimate yet detached viewpoint that allowed the audience to 'observe them from a distance,' whether positioned behind or directly facing them, thereby maintaining a consistent visual language that underscored the film's voyeuristic and introspective tone.
The meticulous cinematic choices made by Darius Khondji were fundamental in bringing 'Marty Supreme's' 1950s New York to vivid life. From the subtle atmospheric elements like haze to the deliberate use of specific lenses and framing techniques, each decision contributed to a rich, immersive experience. Khondji's ability to translate the script's thematic undercurrents into visual storytelling, especially in depicting the city's character and the complex relationships within it, solidified the film's distinctive visual identity and enhanced its narrative impact, creating a memorable cinematic journey.