28 years in the making, 'Sweetwater' premieres in theaters
In ‘Sweetwater’, Everett Osborne stars as Nathaniel ‘Sweetwater’ Clifton, the first African American to ink an NBA contract in 1950. (Photo credit: 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.
The backstory of “Sweetwater,” the newly released movie about Clifton’s life, also follows its own challenging journey from initial inspiration and creative vision to the final production stage.
Martin Guigui, the director, writer, and composer of the film, confided to NBA.com, “I always had a sense that this story was destined to be shared with the world. I wasn’t certain whether I would be the one chosen to share it, but I felt a strong calling. I knew I had to find a way to tell this story.”
Guigui, originally from Argentina, spent his childhood in Manhattan during the 1960s. His father, Efrain, who was the conductor of the New York Philharmonic and subsequently the Vermont Symphony Orchestra, brought him to Madison Square Garden to see the Harlem Globetrotters in action. Later on, they would watch the New York Knicks play, featuring stars like Walt Frazier, Willis Reed, and Earl Monroe.
“Guigui stated enthusiastically, “I turned into an absolute fanatic for the game’s history. I admired everything Connie Hawkins did. The game had a unique creative aspect that set it apart.”
Thus, when I began playing in junior high and high school, I didn’t really fit the system. The coaches would consistently say, ‘You can’t do that on my court.’ I would wonder, ‘What does he mean by that?’
Guigui’s coach from a small town in Vermont was discussing his attempts at “razzle-dazzle,” a term which some old-fashioned characters in “Sweetwater” would use with contempt when discussing “the Negro game.”
In April 1996, several years later, Guigui decided to visit his girlfriend while en route to a performance with his band in New York. He took a break at the Naismith Memorial Basketball Hall of Fame. As he toured the museum, he sensed a void in the history of his beloved team.
Clifton, the first African-American star to be recruited and signed to an NBA contract, had no significant records or achievements. Along with Chuck Cooper from Boston and Earl Lloyd from Washington, Clifton integrated professional basketball in the 1950-51 season. They accomplished this with far less recognition and long-term praise than Jackie Robinson received for doing the same in baseball three years prior.
Watch the official trailer for ‘Sweetwater,’ set to open on April 14.
Tim Moore, a producer at Clint Eastwood’s Malpaso Productions and the individual who ultimately undertook the project, explained to NBA.com, “What’s unusual about this is that, when asked ‘Who was the first African-American to play in the NBA?’ even sports fans often don’t know the answer. Back in those days, college basketball and the NIT were more prominent. The NBA was solely an East Coast entity, with no presence west of the Mississippi.”
Our tagline is: “Sweetwater is the man who changed the game.”
On Tuesday evening, the cast, crew, and guests convened on the Warner Bros. lot, filling the studio’s theater for the premiere. They were there not only for a movie showing but also for a christening of sorts. However, unlike the typical nine months of gestation, this project’s birth took decades.
Nat ‘Sweetwater’ Clifton historically became the first African American to sign an NBA contract, marking a monumental shift in the way the game is played.
Guigui’s commitment to making film never wavered
Clifton was twenty-eight years old when he helped to break the color line in his sport. Prior to this, his life had been a journey that started with his upbringing in Chicago, followed by his education at Xavier University in Louisiana. He then served as a sergeant in the U.S. Army, and went on to play for the all-black New York Rens and the Harlem Globetrotters. In the summer, he also worked as a first baseman for the Chicago American Giants in the Negro League of baseball.
The gap of 28 years exists from Guigui’s visit to the Hall of Fame to the nationwide release of the director’s “passion project.”
The idea may appear appropriate, akin to bookends or similar, if it weren’t for the numerous years of labor and annoyance. Guigui spent some time delving into Clifton’s story for a potential book proposal. On a few occasions, he even contemplated turning it into a documentary. Additionally, he played a crucial role in nominating and advocating for Clifton’s induction into the Naismith Hall in 2014.
Martin’s dedication and enthusiasm for creating this film has remained unwavering. We readily offered our comprehensive support due to the importance of this narrative and its implications, extending beyond the NBA to our wider society.
— NBA Commissioner Adam Silver
Meanwhile, he made a living in Los Angeles, establishing his career as a filmmaker and musician. He worked with renowned personalities such as Faye Dunaway, Jonathan Winters, Robin Williams, Dennis Quaid, Billy Gibbons of ZZ Top, Lady Gaga, David Byrne, and many others. He married, started a family, and received awards. During his leisure time, he showcased his talent in the esteemed L.A. Entertainment League.
Still, there’s no “Sweetwater.” If this seems somewhat recognizable, it’s because I discussed this project on NBA.com back in January 2010, which is almost half 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 lengthy delay in bringing this film to the screen may have persisted. Despite being a New Yorker and a fan of the Knicks, 60-year-old Silver confessed that he had limited knowledge about the stories of Clifton, Cooper, and Lloyd for many years.
“Martin’s dedication and enthusiasm for creating this film has remained steadfast,” Silver informed NBA.com. “We were completely ready to give our full backing due to the importance of this narrative and its implications not just for the NBA, but for our wider society.”
Guigui presented the script once more to several producers, including Moore, in the autumn of 2019. However, the film industry, along with many others, was forced to shut down due to the COVID-19 induced lockdowns.
Guigui recounted, “I recall Adam suggesting, ‘This might be a suitable time to remove that from your drawer. Try to get that movie produced.’ I responded, ‘I’m on it.’ Later, in the fall of 2021, I received a call from Tim. He proposed, ‘We’re beginning to review things. Why not join us and we can discuss it?'”
As the lights of Hollywood began to shine again, Moore found a slot in his timetable. “He claimed it was all set,” stated the producer. “I’m an enormous basketball enthusiast, and have always desired to produce a basketball film. I wasn’t very familiar with Sweetwater, but the script appealed to me.”
Moore, known for his collaborations with Eastwood on films like “Gran Torino,” “Million Dollar Baby,” “American Sniper,” and “Jersey Boys,” liaised with investors to increase the budget from $5 million to $8 million. Guigui had previously secured a rebate from California to fund the in-state film production. With Moore leveraging his network for support, they managed to secure a shooting location right 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 isn’t something that happens regularly. We tried to give it a studio touch. However, there were constraints. We couldn’t afford to use tens of millions of dollars to replicate Madison Square Garden. So, we had to be innovative. We managed to acquire the first three rows for our ‘Madison Square Garden’ on this stage and used visual effects for the rest.”
Following that, since it was a period piece, the focus was on the visual aspects. That’s why we filmed at Disney Ranch, to provide a sense of being in a remote location. We filmed one scene in an actual barn featuring the Globetrotters playing, as they did in that era.
Guigui remarked, “This was a hybrid. It beautifully balanced the passion inherent in independent production with the efficiency of the studio machine.”
As Guigui revised the script approximately 60 times over the years, he conceived his cast and proposed roles. In 2010, names like James Caan for the role of 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 were tossed around. Other potential cast members for the project, which was yet to be determined, 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.
“Playing the role of Joe Lapchick, who played such a crucial role in Sweetwater breaking that barrier, was a privilege,” Piven shared with NBA.com. “He was incredibly passionate and saw a man who deserved to play in the NBA. I genuinely resonated with that.”
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 is now 52, while Harris is 53. However, Guigui required a younger individual. Additionally, he had to address the unique casting issue common in sports films: should he choose an actor and hope they can manage the basketball scenes, or select a player capable of acting convincingly?
Casting for leading role was a slam dunk
Before turning to acting, Everett Osborne played Division I basketball at the University of Texas-Rio Grande Valley. (Photo courtesy of 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.”
Osborne is no stranger to competitive sports, having played NCAA Division I basketball at the University of Texas-Rio Grande Valley, part of the Western Athletic Conference. Post his graduation in 2016, he went on to play professional basketball in Australia for two seasons. Subsequently, he returned to his hometown, Los Angeles, to pursue his acting aspirations. He has made appearances on BET’s “Tyler Perry’s Sistas” and NBC’s “Chicago Fire,” which is hardly surprising.
Guigui soon learned that both boxes were checked.
“The director recalled the frantic search to find the actor for the role of Sweetwater. He recounted sifting through hundreds of submissions alongside casting personnel. These submissions included a mix of retired and current NBA players, actors, and musical artists,” he said.
On this particular tape, there was a man named Everett who had recorded himself playing basketball in a deserted gym. The gym had an almost antique feel to it. His attire was reminiscent of old-school uniforms. The way he played was strikingly similar to the style of Sweetwater Clifton: the elevated dribble, the large strides, the soaring jumps, and the one-handed dunks. I was impressed, thinking, ‘This guy has really done his research.’ He even had the right haircut to match the look.
Osborne said, “I visited a court with my uncle who recorded me wearing ‘Chuck Taylors’ [sneakers], sporting little shorts and performing all kinds of moves. I dashed up and down the court in three or four dribbles, made cuts, and dunked the ball. I didn’t want any doubles, I wanted them to capture every aspect of me being Sweetwater.”
The 29-year-old also recorded a significant dramatic reading. “He had the authenticity, the vernacular, the tone of his voice,” Guigui expressed, comparing Osborne’s demeanor to that of a “young Sidney Poitier.” “Moreover, he’s 6-foot-4, so we didn’t need to exaggerate his height. His basketball playing style was as if he was gifted by guardian angels,” Guigui added.
Osborne’s grandfather used to take him to the Staples Center to watch Kobe, Shaq, and the three-peat Lakers when he was growing up. He was in that house last year when he received the call informing him that he would be Sweetwater.
“Kobe hitting a game-winner was a full circle moment,” said Osborne.
In the movie, Piven, playing the role of Lapchick, has a thrilling moment as he attempts to persuade Clifton to join the Knicks. Clifton dismisses the idea, highlighting the NBA’s all-white teams. Piven responds intensely, stating, “It’s not going to be like that forever.”
“Thanks to Everett’s skill, we could have accomplished all the basketball scenes in a single take,” stated Piven, renowned for his starring role in “Entourage” and numerous other parts. “We’re executing those sequences in actual time, with me coaching in the backdrop, and we simply let it progress. He is truly a superstar, and this is his debut show,” he added.
Portis of the Bucks stated, “He’s destined to become a major actor. Just as one playoff series can launch your basketball career, it only takes one movie to kickstart your acting career.”
All-Star cast delivers authentic performances
In “Sweetwater,” which premieres on April 14, Richard Dreyfuss (left), Cary Elwes, and Everett Osborne perform a scene. (Photo courtesy of Tony Rivetti Jr.)
Guigui said that most of the cast and crew were taken by surprise by the sudden greenlighting of the production.
“When I informed them that we would be making the movie, Dreyfuss was particularly skeptical. He asked, ‘Are you certain?’ I confirmed, yet he mockingly repeated, ‘Sure. Sure, you’re certain.’ His disbelief persisted until the week prior to filming. I contacted him and said, ‘Richard, your filming begins this coming Monday. I require you on the set in five days.’ He even had his wife speak with me on the phone to verify my claims.”
Some had been involved with “Sweetwater” since its inception, while others had only recently joined the project. The majority were excited to guide the project to completion, aided by the resources provided by Warner Bros.
“Being on set was enchanting,” Guigui expressed. “Everyone was highly attentive and concentrated on maintaining authenticity. There was a focus on not just visual replication, but also on correctly portraying the language and aesthetics of the time. There was a certain sophistication back then, akin to attending an opera, with people dressing immaculately to visit the Garden.”
“I remember our prop master interrupting one of my shots. He dashed out into the crowd of thousands of extras, recreating the Garden, to remove a modern wristwatch from a man. He replaced it with a period-piece watch. That was indicative of the spirit.”
The film covers all the anticipated aspects, including flashbacks to Clifton’s younger years, and emphasizes both the on-court and off-court racism he and other Blacks experienced during that period. He received support from his teammates, whether they were Globetrotters or Knicks.
This film also offers a cathartic experience. When you leave the theater, you feel a certain cultural healing. It’s less about civil rights or racism, and more about promoting change.
— Director Martin Guigui, on “Sweetwater”
The performances in this production are robust, with Osborne delivering a compelling lead performance, and Pollak, Piven and Dreyfuss proving to be dependable professionals. The supporting cast, including Roberts in a challenging bigot role, Starr and Caviezel, who is perfectly cast as a sportswriter, also contribute significantly to the show’s success.
Presenting the 1950 story to a 2023 audience posed a distinct challenge. The usage of the term “Negro” is sufficiently striking, and the unavoidable inclusion of the “n-word” to mirror the reality of the era is bound to make some viewers recoil.
“The truth holds a great deal of sharpness, particularly in how it mirrors American history,” stated the director. “This was not exclusively related to basketball in 1950, but rather a reflection of that era. Today’s audience is far more equipped to receive it compared to earlier times.”
Former NBA star, Kiki VanDeWeghe, who was also the executive VP of basketball operations for the league for eight years, was present at the premiere on Tuesday. He was accompanied by his brother Bruk and Rick Darnell, who once played as a big man for the ABA Virginia Squires and currently manages the Los Angeles chapter of the National Basketball Retired Players Association. Ernie VanDeWeghe, the father of the VanDeWeghe brothers and a six-year player for the Knicks, used to share a room with Clifton.
“The message is wonderful,” said the ex-NBA executive. “Now, a lot more people are going to be aware.”
The basketball scenes remain impressive, providing a genuine feeling that Clifton’s style of play was the precursor to Elgin Baylor’s, which subsequently influenced the stylistic play of Connie Hawkins, Julius Erving, Magic Johnson, and numerous contemporary players. Creativity and competition seamlessly blended together.
As the end credits roll, we are presented with monochrome photographs of the main characters depicted in the movie, interspersed with several clips of Clifton in action. A video clip from his later years, where he is seen driving a taxi in Chicago, is also included. Throughout, Clifton radiates happiness, pride, and gratitude for being able to utilize his talents and make a livelihood from a sport he was passionate about.
“Watching this movie can also be an emotional release,” said Guigui. “When you finish watching, there’s a certain amount of cultural healing you feel. It’s less about civil rights or racism, and more about promoting change.”
The moment Clifton first steps on the court as a Knicks member is dramatized for added effect. Guigui will experience this as audiences flock to theaters today.
“He once said, ‘I used to lose sleep worrying that the film would never be produced. Now, my lost sleep is due to the excitement of it actually being made.'”
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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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