O Fim da Turnê

Welcome inside the mind of David Foster Wallace. He's a peculiar man. He thinks he's a regular man, when he knows that he's a genius. He hates being a genius, and he hates being a regular guy. His life is as meandering as his dialogs recorded by David Lipsky. The End of the Tour feels more like a documentary, than dramatized narrative feature. So in effect, this movie is as real as it gets about David Foster Wallace. It's all about the acting here, and it shines. Jason Segel was born to play DFW. He proves to us that he is more than a series of cheap shots at his naked body. Here, he doesn't strip himself of his clothes, he strips himself of his emotions. I hope award season treats him very kindly. It's so natural, and easygoing, and pays a respect to Richard Linklater in tone. It's a scatterbrained wonder, a good film to watch on a lazy day.

"Fiction's about what it is to be a human being." David Foster Wallace

In 1996 David Lipsky (Jesse Eisenberg) interviewed acclaimed author David Foster Wallace (Jason Segel) over the course of several days in Minneapolis for a book tour about his 1000 page epic novel, Infinite Jest. Essentially a two hander in the spirit of the recent True Story, about the interview with alleged murderer Christian Longo (James Franco), The End of the Tour is one of the most accessible biopics about smart people in recent memory.

What sets The End off from True Story and other stories about gifted, troubled authors is its easy manner that doesn't play up intellectual snobbery but rather tries to understand the isolation and diffidence of geniuses. While Lipsky is not the genius writer that Wallace is, he is still a published novelist and a writer for Rolling Stone—the boy has the chops that allow him to get inside Wallace, as much as that is possible with writers slightly less private than, say, JD Salinger.

Wallace reveals himself, albeit obliquely, as a talented working class author bedeviled by addictions that seem to feed his insecurities: Obsessed by TV, he decides not to have one because he'd watch it; having overdosed on booze, he decides not to drink; whether or not he became addicted to heroin is uncertain.

What is certain is that as individualistic as Wallace is, and his densely verbose prose would confirm that, he is still one of us just trying to figure out his existential place in a chaotic world. His immersion in pop culture makes the brainy prose readable and enjoyable because he is tuned in and while heavily analytical, in touch with our daily experience.

Such is the spirit of The End of the Tour: it frequently relies on the mundane (e.g., pop tarts for breakfast, McDonald's for dinner, old TV shows for entertainment) to allow the more challenging—why he wears a bandanna—to reveal his soul (he worries that Lipsky's question about the affectation of the bandanna now makes himself conscious about wearing it, as if he were trying for an impression when he actually wasn't). His prose can be downright entertaining: "Because here's something else that's weird but true: in the day-to day trenches of adult life, there is actually no such thing as atheism. There is no such thing as not worshiping. Everybody worships. The only choice we get is what to worship."

Segel is a revelation as an actor. From mediocre romcoms to perfectly embodying a conflicted writer, Segel remains in low-key character throughout. Here's what Wallace says about the loneliness that was his constant companion before he committed suicide:

"Fiction is one of the few experiences where loneliness can be both confronted and relieved. Drugs, movies where stuff blows up, loud parties — all these chase away loneliness by making me forget my name's Dave and I live in a one-by-one box of bone no other party can penetrate or know. Fiction, poetry, music, really deep serious sex, and, in various ways, religion — these are the places (for me) where loneliness is countenanced, stared down, transfigured, treated." (The Pale King, 2011)

Introduce yourself to this verbal magician by seeing one of the best films of the year: The End of the Tour.

"The End of the Tour" is a hard-sell of a movie. While it features Jesse Eisenberg (whose career have been very hot) and Jason Segal and you'd think the film would have mass appeal, it clearly does not. This isn't a complaint--many of the films I really enjoy are really not the sorts of films that would entertain the most viewers. Instead, it's a film for a narrow audience and if you think you might be among those who would appreciate the movie, by all means watch it. After all, you will see some very nice acting and the story improves and gains momentum as the film progresses.

The story is about an odd sort of interview that took place when David Lipsky (Eisenberg) of Rolling Stone Magazine hung out with literary star David Foster Wallace (Segal) for several days back in the late 1990s. Cutting right to the chase, the film begins with the announcement that Wallace committed suicide and the film is a flashback as Lipsky remembers the strange and very lengthy meeting the two had back in 1996. As I said, this lasted days as the two just hung out together and talked...making it far different than a typical magazine interview.

As far as what they talk about and the themes of their meeting go, this really isn't something I can really explain very well in a review-- you just need to see it and experience it. Instead, I would rather try to convey the style of their time together on the film. It feels like you are a fly on the wall as two intellectuals talk and talk and talk....and talk. Wallace generally presents more as an 'Every Man' sort of guy while Lipsky seems, at times, as if he's trying to impress his new friend with his intellectual prowess. What all this means...well, that's really up to the viewer.

The bottom line is that if you really like action films, this film's is probably not for you. If you love 'literature' as opposed to just reading a book for enjoyment, this movie might be exactly what you'd love to see. As for me, I think I'm in the middle on this one. I can really respect the acting as well as the filmmakers' desire to make a quality picture as opposed to a mass-marketed film. But, on the other hand, the film is slow and very deliberate. It also took a while until I really stared to appreciated it...and I'm not if I ever exactly enjoyed it.

The End of the Tour is a revelation of two things: that Jason Segel is an immense actor, and that intellectual "roadtrip" films are a thing. This one in fact, boasts of a profound & moving story that listening to 2 hours worth of conversations, was a pleasure.

Jason Segel absolutely owned this film, with an eye opening & career-defining performance far from his usual comfortable roles in comedies. His portrayal of David Foster Wallace was so on point, that the complexities of the character naturally flourishes. Also, his expositions simply captivates. His robust & free flowing delivery leaves us, the audience, in the exact same position as Jesse Eisenberg's character - hanging onto his every detail, with a craving for more.

Apart from Segel's Oscar worthy delivery, the illuminating subject matters were just as mesmerizing. As our leads converse on love, loneliness, fame, career & social trends, the film then connects on a personal level, in more ways than one. It is a kind of film that invites self-reflection & embeds ideas on how to live life.

Overall, The End of the Tour is a film that imparts reverence for the character that is David Foster Wallace, by way of picking through the brains of the great writer. It does so through incredibly true and entertaining intellectual discussions that offers the film's inspiring moments. Brilliantly acted, thought provoking and profoundly moving, this independent film demands deeper appreciation, and I happily oblige.

In 1996 David Foster Wallace's 1079-page novel Infinite Jest hit the literary scene like a rocket. The publisher's marketing efforts meant the book was everywhere, but the man himself—shy, full of self-doubt, not wanting to be trapped into any literary poseur moments and seeing them as inevitable—was difficult to read. This movie uses a tyro journalist's eye to probe Wallace during an intense five days of interviewing toward the end of the Infinite Jest book tour. As a tryout writer for Rolling Stone, reporter David Lipsky had begged for the assignment to write a profile of Wallace, which ultimately the magazine never published. But the tapes survived, and after Wallace's suicide in 2008 they became the basis for Lipsky's 2010 book, Although of Course You End Up Becoming Yourself, which fed David Margulies screenplay. The plot of the movie is minimal; instead, it's a deep exploration of character. It may just be two guys talking, but I found it tectonic. Director James Ponsoldt has brought nuanced, intelligent performances from his two main actors—Jason Segel as Wallace and Jesse Eisenberg as reporter David Lipsky. Lipsky is a novelist himself, with a so-so book to his credit. Wallace has reached the heights, and what would it take for Lipsky to scramble up there too? Jealousy and admiration are at war within him and, confronted with Wallace's occasional oddness, one manifestation of which is the attempt to be Super-Regular Guy—owning dogs, eating junk food, obsessively watching television—he isn't sure what to feel. You see it on his face. Is Lipsky friend or foe? He's not above snooping around Wallace's house or chatting up his friends to nail his story. Lipsky rightly makes Wallace nervous, the tape recorder makes him nervous; he amuses, he evades, he delivers a punch of a line, he feints. When the going gets too rough, Lipsky falls back on saying, "You agreed to the interview," and Wallace climbs back in the saddle, as if saying to himself, just finish this awful ride, then back to the peace and solitude necessary actually to write. In the meantime, he is, as A. O. Scott said in his New York Times review, "playing the role of a writer in someone else's fantasy." The movie's opening scene delivers the fact of the suicide, which by design looms over all that follows, in the long flashback to a dozen years earlier and the failed interview. You can't help but interpret every statement of Wallace's through that lens. The depression is clear. He's been treated for it and for alcoholism, from which he seems to have recovered. The two Davids walk on the snow-covered farm fields of Wallace's Illinois home and talk about how beautiful it is, but it is bleak, and even in as jam-packed an environment as the Mall of America Wallace's conversation focuses on the emptiness at the heart of life. Yet his gentle humor infuses almost every exchange, and Lipsky can be wickedly funny too. Wallace can't help but feel great ambivalence toward Lipsky; he recognizes Lipsky's envy and his hero-worship, and both are troubling. He felt a truth inside himself, but he finds it almost impossible to capture and isn't sure he has, saying, "The more people think you're really great, the bigger your fear of being a fraud is." Infinite Jest was a widely praised literary success, but not to Wallace himself.