The End of the Tour (2015) directed by James Ponsoldt – A Film Review

Known for his low-key naturalistic character pieces, James Ponsoldt’s The End of the Tour follows David Lipsky during his five-day interview with writer David Foster Wallace, whilst on a book tour promoting his second novel Infinite Jest (1996).  It follows their interactions with one another; beginning with what seems to be awkward trepidation and slowly transitioning into a much more relaxed and deep conversation.

Overall the film is well shot, well directed and on a technical level the film works fine. The story is well written, and both Segel and Eissenberg give stellar performances as Lipsky and Wallace respectively. Together they have the kind of unique chemistry that you really want to see from such an intense character focused drama like this, and the film really delivered on it. Each of these scenes, seemingly present themselves with a sense of fun and spontaneity in its character interactions.

In many ways the film had a similar style to the Louis Malle film My Dinner with Andre (1981), in the sense that it is a very intimate (yet irreverent) look at an art form by two artists that work within the medium: David Lipsky is also a novelist whose first book is published around the same time as Infinite Jest.

There is a camaraderie to the pair but there is also a deep-seated distrust between the two. Wallace is shy and demure, whilst his interviewer Lipsky is outgoing and charismatic. Wallace’s latest novel Infinite Jest is considered to be a kind of modern masterpiece, Lipsky’s own novel The Art Fair (1996) is not. The film utilises these character indiscretions and insecurities and plays them out expertly.

Yet that’s not to say the film is perfect. Whilst watching the film I did have a problem relating to either of the focal characters. Although the script is based on a true story, and it shouldn’t have to necessarily feature relatable characters as such, I felt that these characters tread already familiar ground. They seemed at times to be going through already familiar American indie film clichés. “Success doesn’t guaranty happiness”, “don’t long for what others have, because they have just as many (if not more) problems than you”, etc. etc. 

On the whole the film was a very good indie drama. In terms of the films craft there is little to criticise. However, the formulaic way certain scenes played out may put some people off seeing this one. It’s a nicely made film with some real heart. But to those more acquainted with American independent cinema, it may just seem as if you’re going over familiar ground here.