Review: ‘The End of the Tour’ is a compelling journey (Includes first-hand account)

David Lipsky (Jesse Eisenberg) is a writer whose most recent book only experienced marginal success; a shortcoming that weighs heavily upon him. However when he reads an unconditionally stellar review of David Foster Wallace‘s (Jason Segel) Infinite Jest in Time magazine — which labels the book one of the best English-language novels published in 82 years — he insists Rolling Stone assign him to conduct the magazine’s first ever author interview (that they’d never publish). Joining Wallace at his remote homestead in Illinois not far from the university at which he teaches creative writing, Lipsky accompanies Wallace during the last stop on his book tour to Minneapolis.

The majority of the film consists of one long flashback while Lipsky listens to the recordings of his conversations with Wallace, which would inspire his memoir, Although of Course You End Up Becoming Yourself. It’s presented as the core narrative with the older journalist’s reflection on past events as the framing story. Unfortunately, Lipsky’s sudden case of nostalgia is triggered by the suicide of Wallace 12 years after their initial and only meeting. Though the acclaimed author was indifferent to being interviewed, he speaks very openly with Lipsky about a variety of subjects including love, success, loneliness, an array of insecurities and a brief institutionalization. Yet he only allows the reporter to record their discussions as long as he agrees not to print anything the speaker deems “off the record” five minutes later. Wallace is also very concerned about how Lipsky may represent him in the article, regularly commenting on previous statements and how they could be perceived if quoted. “I don’t even know if I like you yet, I’ve been so nervous of whether you like me,” he admits over dinner.

Wallace is a frequent philosophizer, commenting on the consequences of masturbation (the death of self via solo entertainment) and why women in magazines are less attractive than “real” women, leading him to eventually confess he wears the bandana to “keep his head from exploding.” Over the course of their five days together, it becomes apparent a meaningful friendship between the two would be challenging since they each envied each other’s lives. Wallace yearns for normalcy, which would include someone to come to home to and with whom to share his success and frustrations. Conversely Lipsky wants nothing more than to attain similar heights as a novelist, rising above the mediocrity (“My girlfriend likes your writing better than mine — it’s kind of annoying”). Their mutual jealousy causes them to consistently look at each other with suspicion, worrying the other could somehow steal what they covet. This resentment peaks when Wallace believes Lipsky is flirting with one of his female friends in Minneapolis.

The chemistry between Eisenberg and Segel is perfect as the terms of their relationship constantly shifts levels of comfortableness and congeniality. In spite of initially liking each other, Lipsky’s and Wallace’s roles are inherently in conflict: the interviewer must probe and ask the tough questions, while the subject is permanently self-aware and distrustful. Yet, within this process, no matter how superficial, a connection is made. In the end both actors portray the ultimate sadness these men experienced at this point in their life, neither satisfied with their current situations in spite of their accomplishments. This realization creates a resounding melancholy that underlies the whole narrative, especially given the events that prompt its telling — a feeling communicated by the outstanding performances of these two men.

Director: James Ponsoldt
Starring: Jason Segel, Jesse Eisenberg and Anna Chlumsky