28 years in the making, 'Sweetwater' premieres in theaters
In ‘Sweetwater’, Everett Osborne stars as Nathaniel ‘Sweetwater’ Clifton, who was the first African American to sign an NBA contract in 1950. (Photo courtesy of Tony Rivetti Jr.)
BURBANK, Calif. — It’s the story of the human spirit, of perseverance, of endlessly saying “yes” when so many said “no.” It demanded tenacity, required resiliency, imposed humility and, in the end, rewarded integrity. One man’s journey, yes, but one that needed boosts and support and love from so many along the way.
The saga of Nat (Sweetwater) Clifton, one of the NBA’s Black pioneers who helped change the face and the style of pro basketball nearly three-quarters of a century ago? Well, yeah, that too.
However, the backstory of “Sweetwater,” a recently released film about Clifton’s life, also mirrors a tumultuous journey from initial inspiration and creative vision to final production.
“The story was bound to be told, I was always aware of that,” Martin Guigui, the director, writer, and composer of the film, conveyed to NBA.com. “I was uncertain if I’d be the chosen one, but I believed it was my destiny. It was crucial for me to share this story with the world in some way.”
Guigui, originally from Argentina, was raised in Manhattan during the 1960s. His father, Efrain, served as the conductor for the New York Philharmonic and subsequently the Vermont Symphony Orchestra. He accompanied his father to Madison Square Garden to watch the Harlem Globetrotters perform. They also attended games featuring the New York Knicks with players like Walt Frazier, Willis Reed, and Earl Monroe.
“Guigui confessed, “I turned into an absolute fanatic for the game’s history. I admired everything Connie Hawkins did. The game was creative, there was something unique about it.”
“So, as I began participating in junior high and high school games, I wasn’t fitting into the system. The coaches would constantly tell me, ‘That’s not allowed on my court.’ I’d wonder, ‘What does he mean by that?'”
His coach from a small town in Vermont discussed Guigui’s attempts at “razzle-dazzle,” a term that some old-fashioned characters in “Sweetwater” would use with scorn when referring to “the Negro game.”
In April 1996, several years later, Guigui decided to visit his girlfriend en route to his band’s concert in New York. During this detour, he made a stop at the Naismith Memorial Basketball Hall of Fame. As he perused the museum, he noticed that a significant part of his favorite team’s history was missing.
Clifton, the first African-American star to be signed to an NBA contract, had no records. He, along with Boston’s Chuck Cooper and Washington’s Earl Lloyd, paved the way for racial integration in professional basketball during the 1950-51 season. This trio, however, received significantly less recognition and praise compared to Jackie Robinson’s groundbreaking integration in baseball three years prior.
Watch the official trailer for ‘Sweetwater,’ set to open on April 14.
Tim Moore, who serves as a producer for Clint Eastwood’s Malpaso Productions and ultimately undertook the project, expressed to NBA.com, “The remarkable element with this one is that, even if you inquire from sports enthusiasts ‘Who was the first African-American to play in the NBA?’, they are not likely to know the answer. During that era, college basketball and the NIT were more dominant. The NBA was purely an East Coast affair, with nothing to the west of the Mississippi.”
Our tagline is: “Sweetwater – the man who changed the game.”
On Tuesday evening, the Warner Bros. lot saw the cast, crew, and guests gather for a premiere at the studio’s theater. However, this wasn’t just a movie premiere; it also served as a christening for a project that took not nine months, but decades to birth.
Nat ‘Sweetwater’ Clifton forever alters the way the game is played by making history as the first African American to sign an NBA contract.
Guigui’s commitment to making film never wavered
Clifton was 28 years old when he helped break the color line in his sport. His journey included growing up in Chicago, attending Xavier University in Louisiana, serving as a sergeant in the U.S. Army, and playing for the all-Black New York Rens and the Harlem Globetrotters. He also spent some summers working as a first baseman for the Chicago American Giants in the Negro League.
The gap of 28 years, from Guigui’s visit to the Hall of Fame to the nationwide release of the director’s “passion project.”
This may appear appropriate, similar to book ends or such, if it weren’t for the years of labor and irritation. Guigui spent some time studying Clifton’s story for a book proposal. On a few occasions, he even considered turning it into a documentary. He also contributed to nominating and campaigning for Clifton’s induction into the Naismith Hall in 2014.
Martin’s dedication and enthusiasm towards the creation of this film never faltered. Considering the importance of this story and its implications for both the NBA and society at large, we were more than ready to offer our complete support.
— NBA Commissioner Adam Silver
Meanwhile, he sustained himself in Los Angeles while establishing his career as a filmmaker and musician. He collaborated with renowned personalities such as Faye Dunaway, Jonathan Winters, Robin Williams, Dennis Quaid, ZZ Top’s Billy Gibbons, Lady Gaga, David Byrne, and many others. He tied the knot, started a family, received accolades, and during his free time, showcased his sparkling talent in the esteemed L.A. Entertainment League.
Despite this, “Sweetwater” still hasn’t emerged. If this seems vaguely familiar, it might be because I discussed this project in January 2010 on NBA.com, which is approximately half of its shelf-life ago.
About five years ago [2005], through various contacts and acquaintances, the NBA got involved. Guigui met with now-deputy commissioner Adam Silver, who directed him to Zelda Spoelstra, dubbed by Guigui as “the gatekeeper of historical accuracy.” A revered longtime employee at NBA headquarters, Spoelstra had been hired in 1951 as commissioner Maurice Podoloff’s administrative assistant. So she’d had a ringside seat to the league’s integration.
“We began working closely on the screenplay,” the writer-director said. “They brought a lot of information to it – my mantra was ‘keep it true’ — and they helped me hone in on that.’”
Now serving as the league’s commissioner since his promotion in 2014 following David Stern’s retirement, Silver is considered a friend by Guigui. Without his support, the film may have taken even longer to make it to the screen. Despite being a New Yorker and Knicks fan, Silver, aged 60, confessed that for years he knew very little about the stories of Clifton, Cooper, and Lloyd.
Silver informed NBA.com, “Martin’s unwavering commitment and passion towards the realization of this film was evident. We were eager to provide our complete support due to the importance of this narrative and its implications, not only within the NBA, but also within our wider society.”
Guigui once again proposed the script to several producers, including Moore, in the autumn of 2019. However, the COVID-19 pandemic struck, leading to lockdowns that halted the film industry and numerous others.
Guigui recounted, “I recall Adam suggesting, ‘This might be the right moment to remove that from your drawer. Try to make that movie.’ I responded, ‘I’m attempting.’ Then in fall 2021, I received a call from Tim. He proposed, ‘We’re starting to review things. Why not come in and we can discuss it?'”
As the lights of Hollywood started to shine again, there was a gap in Moore’s schedule. “He said everything was set,” the producer stated. “I am a huge basketball enthusiast and always dreamt of making a basketball movie. I wasn’t very familiar with Sweetwater, but I was captivated by the script.”
Moore, known for his collaboration with Eastwood on movies like “Gran Torino,” “Million Dollar Baby,” “American Sniper,” and “Jersey Boys,” convinced investors to increase the budget from $5 million to $8 million. Guigui had already obtained a California rebate to support in-state movie production, and thanks to Moore “calling in some favors,” they managed to secure a shooting location at Warner Bros.
During the filming of “Sweetwater,” a scene is directed by Martin Guigui.
“He said, ‘Shooting an independent film on a major lot is not a common occurrence. We managed to give it a studio feel, though there were limitations. The budget didn’t allow for spending tens of millions to replicate Madison Square Garden. Therefore, we had to be creative. We secured the first three rows for our ‘Madison Square Garden’ on this stage and used visual effects for the remainder.”
Following that, the aesthetics became our primary focus because it was a period piece. This is why we chose to film at Disney Ranch, in order to create an isolated atmosphere. We filmed a scene inside an actual barn, featuring the Globetrotters playing, to accurately depict the era.
Guigui stated, “This was a hybrid. It struck a perfect balance between the heart invested in an independent production and the efficiency of the studio machine.”
As Guigui continually revised the script, approximately 60 times over time, he had begun to offer roles and visualize his cast. Back in 2010, there was talk of James Caan playing Knicks owner Ned Irish, Bruce McGill as NBA boss Maurice Podoloff, Ed Lauter as New York coach Joe Lapchick, Smokey Robinson as Sweetwater’s father, and Danny Devito as Trotters impresario Abe Saperstein. Other names mentioned for roles in the yet-to-be-determined project included Richard Dreyfuss, Louis Gossett Jr., Mira Sorvino, and Burt Young.
Dreyfuss remains, portraying Podoloff. But Cary Elwes plays Irish, Jeremy Piven is the earnest Lapchick and Kevin Pollak is the cantankerous huckster Saperstein. Eric Roberts, Jim Caviezel and Mike Starr are among the other familiar faces in the movie.
Piven expressed to NBA.com how privileged he felt to portray Joe Lapchick, a key figure in Sweetwater’s barrier-breaking journey. He described Lapchick as incredibly passionate, recognizing a man deserving of an NBA spot. Piven shared that he deeply resonated with this.
Milwaukee Bucks forward Bobby Portis Jr. has a small role as Lloyd, Clifton’s and Cooper’s fellow barrier breaker. Meanwhile, rounding up a bunch of fictionalized 1950 NBA players meant finding, Guigui said laughing, “a lot of white guys, not in great shape with no tattoos.” (Got to say, the choice to play George Mikan did the Minneapolis Lakers’ Hall of Fame center dirty, looking a little too plodding and oafish.)
And Clifton? Twenty years ago or so, actor Henry Simmons (“Agents of S.H.I.E.L.D.” and “NYPD Blue”) was the favorite. Then it was Wood Harris, probably best known for his role as Avon Barksdale in “The Wire.”
Simmons, at 52, and Harris, at 53, were too old for Guigui’s requirements. He needed a younger actor. Additionally, he faced a typical casting dilemma when it comes to sports films: should he choose an actor who can hopefully manage the basketball scenes, or should he opt for a player who can convincingly act?
Casting for leading role was a slam dunk
Before transitioning to an acting career, Everett Osborne played Division I basketball at the University of Texas-Rio Grande Valley. (Photo credit: Tony Rivetti Jr.)
If you’ve been watching closely, you might have seen Everett Osborne on film in a basketball role. He appeared in a 2017 Nike commercial, “Want It All,” that featured LeBron James, Kevin Durant and Osborne as a rising young star named “Dante Grand.”
This wasn’t a surprise as Osborne had previously played NCAA Division I basketball at the University of Texas-Rio Grande Valley, which is part of the Western Athletic Conference. After completing his graduation in 2016, he went on to play professional basketball in Australia for two seasons. Later, he returned to his hometown, Los Angeles, to pursue his acting career. He had cameo roles in BET’s “Tyler Perry’s Sistas” and NBC’s “Chicago Fire”.
As Guigui soon learned, both boxes were checked.
“The director reminisced about the frantic search to determine who would play Sweetwater, a process that involved combing through hundreds of submissions from a diverse group that included retired and active NBA players, actors, and musicians, in collaboration with the casting team.
On this particular tape, a man named Everett had recorded himself playing basketball in what appeared to be an old-school gym. He was sporting a retro-style uniform, and his gameplay was reminiscent of how Sweetwater Clifton used to play, complete with the high dribble, large strides, jumping high into the air, and one-handed dunks. I was impressed and thought, ‘This guy has really done his research.’ He even had the right look, including his haircut.
Osborne stated, “I visited a court with my uncle, who recorded me in ‘Chuck Taylors’ [sneakers], wearing little shorts, performing various moves. I was moving up and down the court in three or four dribbles, making cuts, dunking the ball… I didn’t want any stand-ins, I wanted them to utilize every aspect of me being Sweetwater.”
The 29-year-old also recorded a dramatic reading that held equal significance. “He possessed the genuineness, the dialect, the voice tone,” Guigui noted, likening Osborne’s demeanor to a “young Sidney Poitier.” “Moreover, he stands at 6-foot-4, which means we won’t need to exaggerate his height. His basketball skills were so superb, it felt as if he was handed to us on a silver platter by guardian angels,” he added.
As a child, Osborne was taken to the Staples Center by his grandfather to watch Kobe, Shaq, and the three-peat Lakers. He was at that same house last year when he received the call informing him that he had been selected for Sweetwater.
“Kobe hitting a game-winner was a full circle moment,” said Osborne.
In the film, Piven, portraying Lapchick, attempts to persuade Clifton to join the Knicks, a move that gives him goosebumps. Clifton, however, dismisses the offer, referring to the NBA’s entirely white line-ups. Piven responds by leaning in and stating, “It’s not going to be like that forever.”
“Everett’s skills allowed us to capture all the basketball scenes in a single take,” stated Piven, renowned for his leading role in “Entourage” and numerous other characters. “Those sequences are played in real time, with me acting as the coach in the backdrop, and we just kept the cameras rolling. He is undeniably a superstar, and this is his grand introduction.”
Portis from the Bucks stated, “He’s destined to be a significant actor. Just as it takes one playoff series to kick off a basketball career, it only takes one movie to launch an acting career.”
All-Star cast delivers authentic performances
Richard Dreyfuss (on the left), Cary Elwes, and Everett Osborne perform a scene from “Sweetwater,” set to premiere on April 14. (Photo credit: Tony Rivetti Jr.)
Guigui said that the sudden approval of the production took most of the cast and crew by surprise.
“When I informed them that we were proceeding with the movie, Dreyfuss was particularly skeptical. He asked, ‘Are you certain?’ I assured him I was, but he seemed unconvinced and sarcastically echoed, ‘Sure, you’re certain.’ His doubts lingered until the week prior to shooting. I had to call him and remind, ‘Richard, your filming starts this Monday. I require your presence on the set in five days.’ To verify my honesty, he even had his wife speak with me on the phone.”
Some had been with “Sweetwater” from the beginning, while others had only recently become supporters. The majority were keen to guide the project to completion, aided by the resources of Warner Bros.
“Being on set was enchantic because everyone was distinctly committed and concentrated on authenticity,” stated Guigui. “We focused on truth and on not just visually, but also aesthetically and grammatically reproducing the way people used to speak. There was a certain eloquence during that time. People would visit the Garden in their finest attire – it was similar to going to the opera.”
I recall that our prop master once interrupted one of my shots during the massive scene that involved recreating the Garden and thousands of extras. He dashed into the crowd to remove a modern wristwatch from one man and replaced it with a period-piece watch. That truly embodied the spirit of our production.
The film covers all the anticipated elements, including flashbacks of Clifton’s early years, and highlights the discrimination he and other Blacks encountered both on and off the court during that time. His teammates, be it from the Globetrotters or the Knicks, were supportive.
This film also offers a cathartic experience. It imparts a feeling of cultural healing as you finish watching it. The movie is less about civil rights or racism, and more focused on promoting change.
— Director Martin Guigui, on “Sweetwater”
The performances are robust, with Osborne leading the pack and Pollak, Piven, and Dreyfuss delivering reliably professional performances. Solid support is also provided by Roberts, Starr, and Caviezel, with Roberts playing an unenviable bigot role and Caviezel fitting perfectly into his role as a sportswriter.
Presenting the 1950 story to a 2023 audience posed a certain challenge. The term “Negro”, already quite shocking, along with the unavoidable inclusion of the “n-word” to portray the authentic situation of the time, will make some viewers uncomfortable.
“The truth has a sharp edge, especially when it mirrors American history,” stated the director. “This isn’t just about basketball in 1950, it’s a representation of that era. The audience today is far more ready to accept it than they were in the past.”
Former NBA star Kiki VanDeWeghe, who served as the league’s executive VP of basketball operations for eight years, was present at the premiere on Tuesday. Accompanying him were his brother, Bruk, and Rick Darnell, who previously played for the ABA Virginia Squires and now manages the Los Angeles chapter of the National Basketball Retired Players Association. Ernie VanDeWeghe, their father who played for the Knicks for six years, was a roommate of Clifton.
“The message is wonderful,” said the ex-NBA executive. “Now, many more people are going to become aware.”
The basketball scenes are still impressive, conveying a real sense that Clifton’s style of play influenced Elgin Baylor’s, which in turn stylistically inspired Connie Hawkins, Julius Erving, Magic Johnson, and numerous contemporary players. Creativity joined forces with competition.
As the end credits roll, black-and-white photos of the main characters in the film are shown, along with a few clips of Clifton in action. A video clip of Clifton driving a taxi in Chicago later in his life is also included. His radiating joy, pride, and gratitude for the chance to utilize his talents and make a living from a sport he adored are clearly evident.
“Watching this movie also provides a cathartic experience,” said Guigui. “It offers a sense of cultural healing when you leave the theatre. It’s less about civil rights or racism, and more about promoting change.”
As Clifton takes his first step on the court as a Knicks member, the moment is heightened for dramatic effect. Guigui experiences this as audiences step into movie theaters today.
“He admitted, “I used to lose sleep, worried that the film would never be produced. Now, I can’t sleep due to the excitement of its successful production.”
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Steve Aschburner has written about the NBA since 1980. You can e-mail him here, find his archive here and follow him on Twitter.
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