In Josh Safdie’s film, the worlds of sport and stage are aligned – with the stakes higher for Gwyneth Paltrow’s former screen star, now on Broadway, than Timothée Chalamet’s hotshot

• This article contains spoilers about Marty Supreme

Josh Safdie’s ping-pong nerve-jangler Marty Supreme races through ambition, vanity, humiliation, deception, soaring glory, crushing failure and the deathless allure of an 11th-hour comeback. All of this I recognise from hours of playing table tennis in our local park. But I recognise it, too, from nights at the theatre – not so much the plays themselves, perhaps, rather the stage as a crucible for the careers of those involved. The film’s subplot, about a Broadway play’s fraught opening, becomes an inspired parallel to Marty’s frantic story and Safdie’s wired style matches not just the adrenalised world of a tournament but also the sensation of stepping out on the stage. I’m a sucker for theatre scenes in films and Safdie’s are brief but certainly supreme.

Halfway into the movie, Timothée Chalamet’s Marty Mauser sneaks into New York’s Morosco theatre. That’s a real playhouse – or was, until it got demolished in the 80s. The film is set in 1952, the year that Terence Rattigan’s The Deep Blue Sea was put on at the Morosco, which would soon have a hit with the premiere of Tennessee Williams’ Cat on a Hot Tin Roof. Those plays about failing marriages find a counterpart in the film’s story of Kay Stone (Gwyneth Paltrow), a silver-screen star of the 30s who is now making a risky return to acting in an overheated play bankrolled by her husband, Milton Rockwell.