28 years in the making, 'Sweetwater' premieres in theaters
Everett Osborne stars as Nathaniel ‘Sweetwater’ Clifton in ‘Sweetwater’. Clifton 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, this is also the behind-the-scenes narrative of “Sweetwater,” the recent biopic on Clifton’s life. This film has navigated a winding, rough journey from the initial spark of inspiration and creative concept to its final production.
“The story was always destined to be told,” said Martin Guigui to NBA.com. Guigui, who served as the director, writer, and composer of the film, added, “I wasn’t certain I’d be the one chosen to tell it, but I felt it was my calling. I had a profound need to share this story with the world.”
Guigui, hailing from Argentina, spent his childhood in Manhattan during the 1960s. His father, Efrain, served as the conductor for the New York Philharmonic and subsequently the Vermont Symphony Orchestra. Efrain often took Guigui to Madison Square Garden to see the Harlem Globetrotters play. Later, they would watch the New York Knicks, featuring players such as 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 unique, creative, there was something different about it.”
Thus, when I began to play in junior high and high school, I didn’t conform to the system. Coaches would constantly tell me, ‘You’re not allowed to do that on my court.’ I found myself questioning, ‘What does he mean by that?’
Guigui’s attempts at “razzle-dazzle” were discussed by his coach in a small-town in Vermont. “Razzle-dazzle” was the term used disparagingly by some rigid characters in “Sweetwater” while referring to “the Negro game.”
In April 1996, several years later, Guigui decided to visit a girlfriend en route to one of his band’s performances in New York. During his detour, he made a stop at the Naismith Memorial Basketball Hall of Fame. While perusing the museum, he noticed a missing piece of history from his favorite team.
Clifton, the first African-American star to be signed and recruited to an NBA contract, had no information available about him. Alongside Boston’s Chuck Cooper and Washington’s Earl Lloyd in the 1950-51 season, Clifton helped integrate professional basketball. This trio achieved this milestone with much less recognition and long-term acclaim than Jackie Robinson, who had done the same in baseball three years prior.
Watch the official trailer for ‘Sweetwater,’ set to open on April 14.
Tim Moore, who is a producer for Clint Eastwood’s Malpaso Productions and the individual who finally took up the project, spoke to NBA.com. He said, “What’s interesting about this, is that even if you were to ask sports enthusiasts ‘Who was the first African-American to play in the NBA?’, they wouldn’t be able to tell you. In that era, college basketball and the NIT held more importance. The NBA was strictly an East Coast affair, with no presence west of the Mississippi.”
“Our tagline is: Sweetwater, the man who changed the game.”
The Warner Bros. lot was abuzz Tuesday evening as the cast, crew, and guests assembled for the premiere, filling the studio’s theater. The event was more of a christening than a typical movie premier. However, instead of nine months, this project took decades to come to fruition.
Nat ‘Sweetwater’ Clifton becomes a historical figure as the first African American to ever sign an NBA contract, revolutionizing the game forever.
Guigui’s commitment to making film never wavered
Clifton was 28 years old when he broke 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. In the summers, he also worked as a first baseman for the Chicago American Giants in the Negro League.
There was a 28-year gap between Guigui’s visit to the Hall of Fame and the nationwide release of the director’s “passion project.”
It may appear appropriate, similar to bookends or such, if not for the years of effort and aggravation. Guigui spent some time investigating the story for a potential book about Clifton. Later, he considered turning it into a documentary a few times. He also played a role in nominating and campaigning for Clifton’s induction into the Naismith Hall in 2014.
Martin’s dedication and enthusiasm for creating this film has remained unwavering. We were extremely eager to offer our complete support due to the importance of this story and its implications not just for the NBA, but for our wider society.
— NBA Commissioner Adam Silver
Meanwhile, he made his living in Los Angeles, establishing himself as a filmmaker and musician. His work included collaborations with notable figures like Faye Dunaway, Jonathan Winters, Robin Williams, Dennis Quaid, Billy Gibbons from ZZ Top, Lady Gaga, David Byrne, and many others. He settled down, started a family, and received various awards. Additionally, in his free time, he showcased his exceptional talent in the renowned L.A. Entertainment League.
Despite everything, “Sweetwater” still isn’t here. If this information sounds somewhat familiar, it’s because I covered the project on NBA.com in January 2010, which is almost 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.’”
Silver, who became the league’s commissioner in 2014 following David Stern’s retirement, is now considered by Guigui as a friend. Without Silver’s support, the lengthy process of bringing this film to the screen may have been prolonged. Despite being a New Yorker and Knicks fan, Silver, aged 60, confessed that he had very little knowledge about Clifton’s, Cooper’s, and Lloyd’s stories for many years.
Silver informed NBA.com that Martin’s dedication and enthusiasm towards the creation of this film had remained unwavering. He added that they were more than prepared to offer their complete support, given the importance of the story, not only to the NBA but also to the wider society.
In autumn 2019, Guigui presented his script once more to several producers, including Moore. However, the COVID-19 pandemic struck, causing lockdowns that led to the shutdown of the film industry among many others.
Guigui recounted, “Adam suggested, ‘This might be a good time to pull that out of your drawer. Try to get that movie produced.’ I replied, ‘I’m trying.’ Later in the fall of 2021, I received a call from Tim. He proposed, ‘We’re beginning to explore options. Why don’t you come in and we can discuss it?'”
As the lights of Hollywood began to glow again, Moore found a free slot in his timetable. “He claimed everything was set,” the producer commented. “I’m an avid basketball enthusiast and have always desired to produce a basketball film. I wasn’t well-versed about Sweetwater, but I was drawn to the script.”
Moore, known for his collaborations with Eastwood on films like “Gran Torino,” “Million Dollar Baby,” “American Sniper,” and “Jersey Boys,” managed to increase the budget from $5 million to $8 million after meeting with investors. Guigui had already procured a California rebate to finance the in-state production of the movie. With Moore leveraging his contacts for support, they could carry out filming directly 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 doesn’t happen too often. We aimed to give it a studio feel. However, there were constraints. We couldn’t afford to dish out tens of millions of dollars to replicate Madison Square Garden. So, we had to be innovative. We managed to secure the first three rows for our ‘Madison Square Garden’ on this stage, and we used visual effects for the rest.”
Following that, as it was a period piece, the focus was on the appearance. This is the reason we decided to shoot at Disney Ranch, to evoke a sense of isolation. We even filmed a scene in a genuine barn featuring the Globetrotters, as that was something they used to do.
Guigui stated, “This was a hybrid. It perfectly balanced the passion inherent to independent production with the efficiency of the studio system.”
As Guigui revised the script approximately 60 times, he began to assign roles and visualize his cast. In 2010, he had considered actors such as 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. Other potential cast members for 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.
“Playing the role of Joe Lapchick, who played a crucial role in Sweetwater overcoming that hurdle, was a blessing,” Piven shared with NBA.com. “Lapchick was extremely passionate and saw a man who deserved to play in the NBA. I strongly 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, now 52, and Harris, 53, were considered too old for Guigui’s requirements. He faced the unique casting dilemma common to sports films. Should he choose an actor who might be able to manage the basketball scenes, or should he select a player who might be convincing as an actor?
Casting for leading role was a slam dunk
Before pursuing an acting career, 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.”
It’s not surprising that Osborne had a history in sports. He played NCAA Division I basketball at the University of Texas-Rio Grande Valley, competing in the Western Athletic Conference. After completing his education in 2016, he spent a few seasons playing professional basketball in Australia. He later returned to his hometown, Los Angeles, to pursue his acting dream. His acting credentials include appearances on BET’s “Tyler Perry’s Sistas” and NBC’s “Chicago Fire.”
Guigui soon learned that both boxes were checked.
“The director reminisced about the frantic search to find the perfect person to play Sweetwater. The task involved meticulously going through hundreds of submissions with casting professionals. These submissions included retired and active NBA players, actors, and musicians,” he said.
In this particular footage, a man named Everett had recorded himself playing basketball in a seemingly deserted gym that had an old-fashioned feel to it. He was garbed in a retro-style uniform and his gameplay mimicked that of Sweetwater Clifton, complete with a high dribble, exaggerated strides, soaring leaps, and one-handed slam dunks. I couldn’t help but think, ‘This man has certainly done his research.’ His overall appearance, including his haircut, just added to the authenticity of his look.
Osborne stated, “I accompanied my uncle to a court where he filmed me wearing ‘Chuck Taylors’ [sneakers], dressed in small shorts, performing various moves. I was moving up and down the court, dribbling three or four times, making cuts, and dunking the ball. I didn’t want any doubles; I wanted them to fully utilize my persona as Sweetwater.”
The 29-year-old also recorded a significant dramatic reading. “He embodied authenticity, vernacular, and tone,” remarked Guigui, comparing Osborne’s demeanor to a “young Sidney Poitier.” “Furthermore, he’s 6-foot-4, so we didn’t have to manipulate his height. His basketball playing style was as if guardian angels had personally delivered him, ” he added.
Osborne’s grandfather used to take him to the Staples Center as a child to watch Kobe, Shaq, and the three-peat Lakers. He received the call informing him that he would become Sweetwater while he was at that house last year.
“Kobe hitting a game-winner was a full circle moment,” Osborne stated.
In the film, Piven, portraying Lapchick, attempts to persuade Clifton to join the Knicks, a moment that gives him goosebumps. Clifton dismisses the proposition, pointing out the all-white NBA player lineup. Piven then assures him, saying, “It won’t always be like that.”
“Everett’s skill allowed us to film all the basketball scenes in a single take,” said Piven, known for his starring role in “Entourage” and countless other parts. “We’re showcasing those sequences in real time, with me coaching in the backdrop and allowing it to just flow. He’s a true superstar and this is his big break,” he added.
Portis from the Bucks stated, “He’s destined to be a renowned actor. Just like how a single playoff series can launch your basketball career, it only takes one movie to kickstart your acting career.”
All-Star cast delivers authentic performances
In the upcoming film “Sweetwater,” set to debut on April 14, Richard Dreyfuss (on the left), Cary Elwes, and Everett Osborne are seen acting out a scene. (Photo credit: Tony Rivetti Jr.)
Guigui said that the abrupt approval of the production caught most of the cast and crew off guard.
“When I informed them about the movie’s production, Dreyfuss in particular, questioned, ‘Are you certain?’ I confirmed it, but he remained skeptical until the week before filming. I contacted him again, informing, ‘Richard, your shooting begins Monday. I need you on the set in five days.’ To verify my words, he handed the phone to his wife.”
Some people had been involved with “Sweetwater” from its inception, while others had recently jumped on board. The majority were keen to guide the project towards completion, with Warner Bros.’ resources facilitating the process.
“Being on set was enchanting as everyone was incredibly particular and sharply concentrated on authenticity,” stated Guigui. “We were focused on truthfulness and replicating not only the visual aspect, but also the aesthetic and linguistic style of that period. There was a distinct eloquence back then. People would dress up elaborately to visit the Garden – it was akin to attending the opera.”
I recall how our prop master once interrupted one of my shots. Amidst thousands of extras and a recreated Garden, he dashed into the crowd to replace a man’s modern wristwatch with a period-appropriate one. That truly embodied the spirit of our work.
The film covers all the anticipated elements, including flashbacks to Clifton’s early life, and emphasizes the discrimination he and other Blacks encountered both on and off the basketball court during that period. His teammates, whether from the Globetrotters or the Knicks, showed their support.
This film also offers a cathartic experience. When you leave the cinema, there’s a feeling of cultural healing. It’s not so much a story about civil rights or racism, but more about promoting change.
— Director Martin Guigui, on “Sweetwater”
The performances are compelling, with Osborne delivering as the main actor, and Pollak, Piven, and Dreyfuss providing reliable professional portrayals. Excellent supporting roles are provided by actors such as Roberts, who portrays a thankless bigot, Starr, and Caviezel, who is perfectly cast as a sportswriter.
Presenting the 1950 story to a 2023 audience was a significant challenge. The use of terms like “Negro” is sufficiently startling, and the unavoidable use of the “n-word” to accurately represent the reality of that era may cause discomfort among some viewers.
“The truth carries a lot of edge, particularly in its representation of American history,” stated the director. “This wasn’t exclusive to 1950’s basketball, but indicative of the era. Today’s audience is significantly more ready for this compared to the past.”
Former NBA star, Kiki VanDeWeghe, who held the position of executive VP of basketball operations for eight years, attended a premiere on Tuesday, accompanied by his brother Bruk and Rick Darnell. Darnell, who once played as a big man for the ABA Virginia Squires, currently manages the Los Angeles chapter of the National Basketball Retired Players Association. The VanDeWeghes father, Ernie, was a six-year player for the Knicks and was roommates 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, conveying a genuine sense that Clifton’s style of play gave birth to Elgin Baylor’s, which in turn influenced the styles of Connie Hawkins, Julius Erving, Magic Johnson, and numerous contemporary players. Creativity and competition combined seamlessly in these scenes.
As the end credits roll, we see monochrome images of the main characters from the film, interspersed with snippets of Clifton in action. A video clip from his later years shows him working as a taxi driver in Chicago. He radiates happiness, pride, and gratitude for having the chance to utilize his skills and make a living from a sport he adored.
“This film offers a cathartic experience as well,” stated Guigui. “It provides a sense of cultural healing when you leave the theatre. It’s less about civil rights or racism, and more about promoting change.”
The moment Clifton first steps on the Knicks court is dramatized. Guigui will experience this as audiences step into theaters today.
“He stated, “I once lost sleep over the fear that the film would never be made. Now, I’m losing sleep due to the excitement that it finally got 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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