Gabe Klinger’s Double Play is a tidy documentary about two creative brains: directors James Benning and Richard Linklater. Benning, the elder of the two, shoots austerely beautiful experimental films that force the audience to, say, stare at seagulls swooshing across a mirrored pond. (The irony of people needing to huddle indoors to appreciate nature isn’t lost on him.) Back when Linklater was just another wannabe Austin artist — albeit, more ambitious than most — he was one of Benning’s biggest fans.
In 1988, the year before he made Slacker, Linklater launched the Austin Film Society and short-listed Benning, then a stranger, as one of his dream guests. Now decades into their friendship, Benning has flown back to Texas for a visit, and Klinger tags behind the two men as they try to pin down what draws them together. One surprising answer: baseball. As bored, suburban children, both were way more passionate about making it in the major leagues than making it in Hollywood.
Admits Linklater, “Delusion is important in sports and in arts. No matter how good you are, you have to think you’re a little better than you are.” It’s less interesting watching them do what they both feel they have to do — talk about their craft — especially as both give off the prickly energy of artists who would rather create than explain. They’re more comfortable asking one another questions, even though the answers are shrugged off humbly. Linklater, in particular, cannot take a compliment.
When Benning says he admired how Before Sunrise pared down the narrative romance, he demurs that compared to Benning’s art pieces, his own films are still manipulative, just “disguised better, perhaps.”
This article from the Village Voice Archive was posted on July 16, 2014