BEST NEW FEATURE
This independent film based off David Lipsky's obituary of David Foster Wallace is a fantastic road trip movie filled with rich dialogue.
Based on David Lipsky's 2010 book Although Of Course You End Up Becoming Yourself, The End of the Tour stars Jesse Eisenberg as Lipsky and Jason Segel as David Foster Wallace, subject of the novel and author of Infinite Jest. Lipsky, working for Rolling Stone magazine, seeks to interview Wallace around the height of the book's fame, and thus spends five days with Wallace at the end of his book tour. What ensues is a road trip movie that consists primarily just of the two writers talking to one another. What makes this work is the incredible script, coming from playwright Donald Margulies and based off David Lipsky's own record of his conversations with Wallace. These conversations are utterly riveting, filled with thoughtful observations and humorous commentary, and more importantly just being constructed of great dialogue.
Being based on Lipsky's own recordings of the actual conversations, it's likely that this dialogue is at least quite similar to what was actually said. However, the full legitimacy of Wallace's depiction in this film is called into question by his estate's objections to the film. Ultimately, though, that's irrelevant: Whether or not Segel's depiction of Wallace honours the man's memory, there's no doubt that it's absolutely fantastic. In The End of the Tour, Wallace appears as a fascinating, remarkable individual, anxious about how people see him and possessing a brilliant mind filled with fascinating ideas. Segel is fantastic in the role, delivering what's been called a career-best performance, carrying the restrained and nervous moments just as well as the more intense moments. Wallace seems reasonably willing to talk to Lipsky, but remains guarded from start to finish, even as he bonds with the reporter. For all that may not have been revealed, though, Wallace still gives Lipsky-and, by extension, the audience-a lot to work with, discussing everything from his television addiction to his time under suicide watch.
The film doesn't bring up Wallace's cause of death much, so it's easy to forget that he committed suicide. Nevertheless, this death casts a faint but distinct shadow over the film, opening up the movie and having the occasional reminder in the beginning and ending. Wallace talks a few times about his depression, which makes for some of the most poignant moments in the film. Never is the film depressing, though. There's moments when it's moving and powerful, but the vast majority of the proceedings is thoroughly exciting, particularly through the intellectual stimuli of the writers' banter. For most of its first half, The End of the Tour takes the form of a funny, entertaining, and thoroughly delightful road trip movie. The heavier stuff comes in later, particularly when tension builds between Lipsky and Wallace over the former's interaction with one of the latter's ex-girlfriends. Although both writers display great intellect, they also show an amount of machismo, something reflected in the state of Wallace's isolated house. In a penultimate scene, Lipsky compares it to a "bookish dorm", a dichotomy that defines the film's portrait of the male brain.
Although Wallace is the bigger name in the interview, a fair bit of focus is put on Lipsky himself. Quite a few times, Wallace takes an interest in Lipsky's life, and at one point mentions that he thinks it'd be interesting to see one of his interviewees be the subject of an interview himself. One part of the younger writer's story that parallels his subject is that, aside from his news reporting at Rolling Stone, he had also published fiction, including one recent novel, which he was able to get published overseas but which still doesn't match the stature of Infinite Jest. In contrast to Wallace's modesty and anxiety about his image, Lipsky is full of ambition and envy of the more famous writer's position. More than a couple exchanges involve him saying he would take further advantage of Wallace's position, and in there is the key difference between the two. Much like Segel as Wallace, though, Eisenberg is fantastic, delivering the kind of excellent performance he's been known for while managing to capture Lipsky's own range of emotions.
If there's one thing that isn't so great about the film, though, it's the cinematography, which while at times gorgeous is far more often very standard, and at times distractingly cliche. It's not often that the cinematography is intrusive, but it's rarely particularly inspiring either. In a film as well-performed and well-written as this one, though, that hardly matters.
Perhaps a film merely about two people talking isn't going to be enjoyed by all filmgoers, but The End of the Tour is amongst the best in its class. It boasts poignant observations and genuine humour in equal measure, all unified by an impeccable script. With two brilliant performances on top of it, this film is an utter blast to watch, and is also refreshingly unconventional in its talkativeness. Caught a bit too late to be one of the best films of the summer, it still ranks up as one of the best of the year.
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Todd Throndson
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