THE END OF THE TOUR – The Review

Film makers wishing to explore the life of celebrated individuals can often be thwarted by the lack of material, particularly when said individual is a most private person who did not make themselves easily accessible. And often those closest, be they family or long-time friends “circle the wagons” around this potential cinematic subject. This may have been a big problem for the people behind this new film, a look at the all-too brief life of celebrated, but very private, writer David Foster Wallace. Fortunately access was granted via David Lipsky and his best seller “Although of Course You End Up Becoming Yourself”. But as you’ll see, this film is not the standard movie bio, not a “rags to riches”, birth to stardom tale. It’s the story of the friendship between the two Daves, struck up in just a few short days, specifically at THE END OF THE TOUR.

Oddly, the film really does start with an ending as Lipsky (Jesse Eisenberg) gets a call informing him of a true tragic end. We then flash back several years, to the mid 1990’s, as Lipsky reads from his novel to a meager NYC book store audience. Going back to the apartment he shared with girlfriend Sarah (Anna Chlumsky), Lipsky decides to apply for a writing/reporting job at Rolling Stone Magazine. Some time later, she tells him about the incredible new book she’s voraciously devouring, the highly lauded “Infinite Jest” by David Foster Wallace. Lipsky has an idea and the next morning he pitches his editor (Ron Livingston) an idea for an article/interview with the rising literary star. After he gets the go-ahead, Lipsky flies to Bloomington, IL, and soon his rental car is in the snowy driveway of the modest ranch house where he’s greeted by the soft-spoken, slighty apprehensive Wallace (Jason Segel). He’s on the final home break before the last leg of his book tour. After observing Wallace teaching his writing course at nearby Illinois State University, the men bond over smokes, pop music queens, and junk food before catching an early flight to Minneapolis. They’re escorted by Wallace’s publishing company rep Patty (Joan Cusak) and embark on series of local bookshop appearances. In their downtime, the Daves meets up with two ladies, Wallace’s former college romance Becky (Mickey Sumner) and his first book editor/fan Julie (Mamie Gummer). For the rest of the trip, the men discuss family, life, and their shared love of cheesy big-budget action flicks, as Lipsky’s boss pressures him to get the scoop over stories circulating about Wallace’s past, particularly a rumored bout with substance abuse.

The film’s greatest strength may be the astonishing dramatic performance by Segal as the lauded author at the center of the story. Segel has well established himself in the world of comedy as the affable “regular Joes” of JEFF, WHO LIVES AT HOME or I LOVE YOU MAN (and his long-running role in the TV hit “How I Met Your Mother”), even starring and writing such diverse comedies as FORGETTING SARAH MARSHALL and THE MUPPETS. Here, as Wallace, he reaches into, until now, unseen dramatic depths. Though physically intimidating (he towers over his co-stars), he projects a real vulnerability through his haunted eyes. He gets joy from simple pleasures, playing with his dogs or scooping up cola at a convenience store, but there’s an air of gloom as he ponders the effects of fame via his works. This makes him particularly cautious in his initial meetings with Lipsky, setting up barriers (“don’t talk to my parents…please”), while trying to keep a few passions and thoughts private. Look for Segel’s name popping up later this year during award season, in response to his wonderful work. Eisenberg proves equally to the task as his verbal “sparring partner”. There’s the intelligence that Mr. E has shown in other films like THE SQUID AND THE WHALE and THE SOCIAL NETWORK, but with a complexity of emotions, new to film goers. His Lipsky has an admiration for Wallace’s genius, perhaps with more than a twinge of envy since his own novels never came close to getting the same rapturous responses (doesn’t help that his gal is a super-fan). He’s affected deeply by his short time with his subject, perhaps learning much more about his own foibles. Later, we see how he’s torn by the pressures to “dig up some dirt”. Lipsky doesn’t want to destroy this new relationship. As great as these two actors are, I don’t wish to discount the smaller roles (often just a handful of lines) by this great cast, especially Sumner as an unexpected literary temptress. And kudos to the producers for casting Segel’s “Freaks and Geeks” co-star Becky Ann Baker as a bookstore manager, a great reminder of the TV role that started Segel on the road to this new triumph.

Director James Ponsoldt builds expertly on his recent work on SMASHED and THE SPECTACULAR NOW with this quiet, intimate study of two writers exploring their craft. No flashy camera techniques distract from the tale, although there’s a great visual gag as Lipsky looks up from his floor mattress at Wallace’s home, and beholds the looming tower of books that seem ready to collapse. Ponsoldt is there, first and foremost, to serve the actors as they interpret the compelling screenplay adaptation of Lipsky’s book by Donald Marguiles. The film is a warm nostalgic remembrance, despite the “frozen tundra” of central Illinois, that’s colored with regret and peppered with wonderful bursts of humor (Wallace won’t own a TV, but when he’s on the road…). THE END OF THE TOUR is an actors’ showcase and a quiet delight for film lovers.

4.5 Out of 5

THE END OF THE TOUR opens everywhere and screens exclusively in St. Louis at Landmark’s Plaza Frontenac Cinemas and the Tivoli Theatre