“The End of the Tour”: Writing. It ain’t for The Faint o’ Heart, mate.
I am a writer. Not trying to come off as boastful. Grab a pen and a piece of paper. Jot something down. Voila. You’re now a writer, too.
The fact that I write-and sometimes even get published beyond these flick reviews I love composing for all of you enormously valued readers-is the main reason I liked “The End of the Tour”. At it’s core this is a rumination about the sensibility and soul of a writer. The drive. The pride. The fragility. The insecurity. The recognition. The failure. The hurt. All of these deeply felt emotions are explored and candidly brought to bare in this based on actual events chronicle of a nearly week-long 1996 interview between Rolling Stone writer David Lipsky and gifted but painfully troubled author David Foster Wallace.
A couple of things to be aware of when considering this film. You better be at least a moderate fan of both Jesse Eisenberg and Jason Segel, who play Lipsky and Wallace, respectively. Because every scene we see has either one or both of these guys in it.
And you also best be a fan of dialogue. Man, is there a lot of it in this screenplay by Donald Margulies. Which makes sense, actually, as this account revolves almost exclusively around words, both written and spoken.
We see the two main characters walking and talking. Sitting and talking. Lying down and talking. Driving and talking. Flying and talking. And here’s the thing. Most of what we are listening to is pretty fucking fascinating. At least it was to me.
“The End of the Tour” is a double entendre for a book promotion junket as well as something much more precious. If you don’t know what I’m referring to already, I’m not gonna spoil it for you.
I’ll let the movie tell the story.