28 years in the making, 'Sweetwater' premieres in theaters
In “Sweetwater,” Everett Osborne stars as Nathaniel “Sweetwater” Clifton, the first African American to sign a contract with the NBA 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 journey of “Sweetwater,” the newly released film based on Clifton’s life, from initial inspiration and artistic vision to final production, is also a story in itself. This journey was fraught with its own set of twists and turns.
Martin Guigui, the director, writer and composer of the film, shared with NBA.com, “I was always certain that this story would be told. While I wasn’t sure I would be the one chosen to do so, I felt a strong calling. It was a story I believed I needed to share with the world.”
Guigui, originally from Argentina, spent his childhood in Manhattan during the 1960s. His father, Efrain, who was a conductor for the New York Philharmonic, and later the Vermont Symphony Orchestra, would take him to Madison Square Garden to see the Harlem Globetrotters. Eventually, they started watching the New York Knicks, featuring Walt Frazier, Willis Reed and Earl Monroe.
“Guigui admitted, “I turned into an absolute fanatic for the game’s history. I admired everything Connie Hawkins did. The game was unique and creative, something set it apart.”
“So, during my junior high and high school years when I began playing, I couldn’t adapt to the system. Constantly, the coaches would tell me, ‘That’s not allowed on my court.’ I always wondered, ‘What does he mean by that?'”
His coach in a small Vermont town was discussing Guigui’s attempts at “razzle-dazzle”, a term used dismissively by some old-fashioned characters in “Sweetwater” to refer to “the Negro game”.
A few years down the line, in April 1996, Guigui deviated from his route to visit a girlfriend as he was on his way to a gig his band had in New York. During his journey, he made a stop at the Naismith Memorial Basketball Hall of Fame. As he roamed around the museum, he felt that a part of the history of his beloved team was missing.
Clifton, the first African-American star to be recruited and signed to an NBA contract, had nothing found on him. In the 1950-51 season, he integrated professional basketball alongside Boston’s Chuck Cooper and Washington’s Earl Lloyd. This trio accomplished this with much less fanfare and enduring acclaim than Jackie Robinson had received for integrating baseball three years prior.
Watch the official trailer for ‘Sweetwater,’ set to open on April 14.
Tim Moore, a producer for Clint Eastwood’s Malpaso Productions who ultimately accepted the project, shared with NBA.com, “What’s unique about this one is that even if you ask sports fans ‘Who was the first African-American to play in the NBA?’ they often don’t know the answer. In those days, the college game and the NIT were more prominent. The NBA was exclusively on the East Coast, with no teams west of the Mississippi.”
Our tagline is: “Sweetwater – the man who changed the game.”
On Tuesday evening, the Warner Bros. lot was filled with the cast, crew, and guests for a movie premiere at the studio’s theater. However, they were there not just for a movie, but also for a christening of sorts. Unlike the usual nine months, the birth of this project had taken decades.
Nat ‘Sweetwater’ Clifton made history as the first African American to sign an NBA contract, permanently altering the way the game is played.
Guigui’s commitment to making film never wavered
Clifton was twenty-eight years old when he helped break the color barrier in his sport. Prior to this, he had a diverse background. He grew up in Chicago, attended Xavier University in Louisiana, and served as a sergeant in the U.S. Army. He then played for the all-Black New York Rens and the Harlem Globetrotters. During the summers, he worked as a first baseman for the Chicago American Giants in the Negro League.
The gap from Guigui’s visit to the Hall of Fame to the nationwide release of the director’s “passion project” was 28 years.
It may appear appropriate, similar to how bookends match, if one overlooks the years of work and frustration. Guigui initially spent time exploring the story for a book proposal about Clifton. At some point, he even considered turning it into a documentary. He played a pivotal 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 steadfast. We were completely ready to offer our total support given the importance of this story and its implications, not just for the NBA, but for our society at large.”
— NBA Commissioner Adam Silver
Meanwhile, he made his living in Los Angeles, establishing himself as a filmmaker and musician. He had the opportunity to work with renowned individuals such as Faye Dunaway, Jonathan Winters, Robin Williams, Dennis Quaid, Billy Gibbons from ZZ Top, Lady Gaga, David Byrne, and many others. He tied the knot, started a family, received accolades, and utilized his spare time to showcase his unique talent as a player in the legendary L.A. Entertainment League.
Despite this, “Sweetwater” still hasn’t materialized. If this seems vaguely familiar, it’s because I previously covered this project for NBA.com in January 2010, which is nearly 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 assumed the role of the league’s commissioner in 2014 following David Stern’s retirement, is considered a friend by Guigui. Without Silver’s support, the film might have remained in production for even longer. Despite being a New Yorker and a Knicks fan, 60-year-old Silver confessed that he had limited knowledge about the stories of Clifton, Cooper, and Lloyd for many years.
“Martin’s steadfast dedication and enthusiasm towards creating this film has remained unyielding,” Silver informed NBA.com. “We were entirely prepared to offer our complete support due to the importance of this narrative and its implications not just for the NBA, but also for our wider society.”
Guigui presented the script to several producers, including Moore, in the autumn of 2019. However, when COVID-19 struck, lockdowns were implemented, causing the film industry and many others to shut down.
Guigui recalled, “Adam suggested, ‘This might be the ideal time to take that out of your drawer. Try to get that movie produced.’ To which I responded, ‘I’m trying.’ Then, in the fall of 2021, I received a call from Tim. He invited me, saying, ‘We’re beginning to review things. Why not come in so we can discuss it?’”
As the lights of Hollywood began to glow again, Moore found a gap in his busy agenda. “He claimed everything was set,” the producer shared. “I’m an immense basketball enthusiast and always dreamt of making a basketball film. I wasn’t very familiar with Sweetwater, but the script appealed to me.”
Moore, known for his collaborations with Eastwood on movies like “Gran Torino,” “Million Dollar Baby,” “American Sniper” and “Jersey Boys,” met with investors and increased the budget from $5 million to $8 million. Guigui had previously secured a California rebate to offset the costs of filming in-state. With Moore leveraging his connections for some assistance, they managed to secure a filming 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 isn’t something that happens frequently. We managed to give it a studio vibe, but there were restrictions. It wasn’t feasible for us to shell out tens of millions of dollars to replicate Madison Square Garden. So, we had to be inventive. We secured the first three rows for our ‘Madison Square Garden’ on this stage, while the remaining parts were achieved through visual effects.
Following that, the aesthetics were crucial as it was a period piece. This is why we chose to film at Disney Ranch, to create the illusion of being isolated. We filmed a scene in an actual barn with the Globetrotters playing, as it was typical during that era.
Guigui stated, “This was a hybrid. It struck a perfect balance between the passion poured into independent production and the effectiveness of the studio process.”
Throughout the course of rewriting the script approximately 60 times, Guigui began to assign roles and visualize his cast. In 2010, he had considered actors 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 to portray Sweetwater’s father, and Danny Devito as Trotters impresario Abe Saperstein. Other potential actors that were suggested 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.
“Portraying Joe Lapchick, a key figure in Sweetwater’s breaking of the barrier, was a gift,” Piven informed NBA.com. “He had a fiery passion, and he recognized a player deserving of a spot in the NBA. That resonated with me deeply.”
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 and Harris is 53, but Guigui needed a younger actor. Besides, he also had to address the unique casting dilemma associated with sports films: should he choose an actor who could potentially manage the basketball scenes, or opt for a player who could convincingly act?
Casting for leading role was a slam dunk
Before embarking on his acting career, Everett Osborne played Division I basketball at the University of Texas-Rio Grande Valley. (Photo credited to 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 wasn’t a surprise that Osborne had a background in NCAA Division I basketball, given that he had played at the University of Texas-Rio Grande Valley in the Western Athletic Conference. After completing his degree in 2016, he went on to play professional basketball in Australia for two seasons. Afterward, he returned to his hometown of Los Angeles to pursue his acting dream. He then made guest 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 fit for the role of Sweetwater. This involved reviewing hundreds of submissions with the casting team, with candidates ranging from retired and present NBA players to actors and musicians,” he said.
In this particular video, a man named Everett had recorded himself playing basketball in a gym, seemingly deserted. It bore a striking resemblance to an old-school gym. He was garbed in a retro-style uniform, and his style of play mirrored that of Sweetwater Clifton: a high bounce, exaggerated strides, aerial leaps, and one-handed dunks. I found myself thinking, ‘This guy has really done his research.’ His whole look, right down to his haircut, was spot on.
Osborne stated, “I accompanied my uncle to a court where he filmed me in ‘Chuck Taylors’ [sneakers], wearing little shorts, and performing various moves. I was running 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 capture every aspect of me being Sweetwater.”
The 29-year-old also recorded a significant dramatic reading. “He possessed the authenticity, the dialect, the voice tone,” Guigui remarked, comparing Osborne’s mannerism to a “young Sidney Poitier”. He added, “He’s also 6-foot-4, so there was no need to exaggerate his height. His basketball skills were so remarkable, it was as though he was presented to us by guardian angels.”
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 at that very house last year when he received the call informing him that he would be Sweetwater.
“Kobe hitting a game-winner brought everything full circle,” said Osborne.
In the film, Piven, playing Lapchick, attempts to persuade Clifton to join the Knicks, creating a moment filled with suspense. Clifton dismisses him, referring to the NBA’s exclusively white teams. Piven, however, leans in and assures him, “It’s not going to be like that forever.”
“Thanks to Everett’s talent, we managed to shoot all the basketball scenes in one go,” said Piven, known for his lead role in “Entourage” and countless other performances. “We filmed those sequences live, with me acting as the coach in the backdrop, and simply let the scenes unfold. He is a true superstar and this is his breakout moment.”
Portis from the Bucks stated, “He’s destined to be a significant actor. Just as it takes one playoff series to 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, a scene is acted out by Richard Dreyfuss (left), Cary Elwes, and Everett Osborne. (Photo credit goes to Tony Rivetti Jr.)
Guigui said that the unexpected approval of the production caught most of the cast and crew off guard.
“When I informed them about making the film, Dreyfuss was skeptical. He asked me, ‘Are you certain?’ I confirmed but he seemed dubious, repeating, ‘Sure. Sure, you’re certain.’ His disbelief lingered until the week before the shoot. I phoned him and said, ‘Richard, you’re scheduled to film on Monday. I require your presence on set in five days.’ He even made his wife speak to me to verify my words.”
Some had been supporters of “Sweetwater” from its inception, while others had only recently begun to support it. Most were keen to guide the project to completion, aided by the resources of Warner Bros.
“Being on set was enchanting as everyone was incredibly precise and committed to authenticity,” Guigui expressed. “There was a focus on honesty and an accurate representation of not only the visual aspects but also the aesthetic and linguistic elements of how people spoke. There was a certain eloquence during that time. It was similar to attending the opera when people would dress up extravagantly to visit the Garden.”
“I recall a moment when our prop master halted one of my shots. Amidst thousands of extras and the recreation of the Garden, he ran into the crowd to remove a modern wristwatch from a man, replacing it with a period-appropriate watch. That encapsulated the spirit of our work.”
The film explores all the anticipated aspects, including glimpses into Clifton’s early life, and emphasizes the prejudice he and other Black individuals encountered during that time, both on and off the basketball court. His teammates, whether they were Globetrotters or Knicks, showed their support.
This film also provides a cathartic experience. It imparts a feeling of cultural healing when you leave, not focusing solely on civil rights or racism, but promoting change.
— Director Martin Guigui, on “Sweetwater”
The performances are impressive, with Osborne leading the pack and Pollak, Piven, and Dreyfuss showcasing their reliable professional skills. Solid supporting roles are played by Roberts, who portrays a thankless bigot, Starr, and Caviezel, who is flawlessly cast as a sportswriter.
Presenting the story from 1950 to a 2023 audience posed a significant challenge. The use of the term “Negro” is quite shocking, and the unavoidable inclusion of the racial slur used during that era to depict reality will likely make some viewers uncomfortable.
“The truth possesses significant grit, particularly in its depiction of American history,” stated the director. “This wasn’t unique to 1950s basketball, but was indicative of that era. Audiences today are more equipped to handle this than in previous years.”
Former NBA star Kiki VanDeWeghe, who served as the league’s executive VP of basketball operations for eight years, attended a premiere on Tuesday with his brother Bruk and Rick Darnell. Darnell, a former ABA Virginia Squires big man, currently manages the Los Angeles chapter of the National Basketball Retired Players Association. Their father, Ernie VanDeWeghe, who had a six-year stint with the Knicks, used to be roommates with Clifton.
“The message is wonderful,” said the ex-NBA executive. “Now, many more people will be aware.”
The basketball scenes remain impactful, effectively conveying how Clifton’s style of play influenced Elgin Baylor, which in turn stylistically gave rise to players like Connie Hawkins, Julius Erving, Magic Johnson, and numerous contemporary players. It was a fusion of creativity and competition.
During the end credits, we are shown black-and-white images of the film’s main characters, as well as a few clips showcasing Clifton’s abilities. A video segment from later in his life features him working as a taxi driver in Chicago. He radiates happiness, pride, and gratitude for having had the chance to utilize his skills and make a living from a sport he was passionate about.
“Watching this film is also a cathartic experience,” stated Guigui. “It provides a sense of cultural healing. The movie is not primarily about civil rights or racism, but it’s aimed at promoting change.”
The moment Clifton first steps onto the court as a Knicks member is amplified for added drama. Guigui experiences this as audience members step into theaters today.
“He said, ‘I once lost sleep fretting that the film would never be produced. Now, my lost sleep is due to the sheer excitement that it actually was produced.'”
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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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