28 years in the making, 'Sweetwater' premieres in theaters
Everett Osborne stars as Nathaniel ‘Sweetwater’ Clifton, the first African American to sign an NBA contract in 1950, in ‘Sweetwater’. (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,” the recently released biopic about Clifton’s life, also traces its own complex and difficult journey from initial inspiration and creative vision to final production.
“The story was always destined to be told,” said Martin Guigui, who directed, wrote, and composed the film, in an interview with NBA.com. “Although I wasn’t certain I would be the chosen one, I strongly felt it was my calling. I knew I had to share this story with the world in some way.”
Guigui, originally from Argentina, was raised in Manhattan during the 1960s. His father, Efrain, who was the conductor of both the New York Philharmonic and later the Vermont Symphony Orchestra, brought him to see the Harlem Globetrotters play at Madison Square Garden. Furthermore, they also watched the New York Knicks games 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 had a creative aspect, something that set it apart.”
Thus, when I commenced playing in junior high and high school, I didn’t really blend into the system. The coaches would consistently admonish me, saying, ‘You can’t do that on my court.’ I would wonder, ‘What is he referring to?’
In small-town Vermont, Guigui’s coach was discussing his attempts at “razzle-dazzle”, a term that some old-fashioned characters in “Sweetwater” would use with a sneer when referring to “the Negro game.”
In April 1996, a few years later, Guigui decided to visit a girlfriend on his way to one of his band’s performances in New York. This required him to take a detour, which led him to the Naismith Memorial Basketball Hall of Fame. While touring the museum, he sensed a missing piece of history from his favorite basketball team.
Clifton, the initial African-American icon to be enlisted and contracted by the NBA, was found to have nothing. Alongside Boston’s Chuck Cooper and Washington’s Earl Lloyd in the 1950-51 season, Clifton played a vital role in integrating professional basketball. Despite receiving less recognition or enduring praise, this trio accomplished a similar feat to what Jackie Robinson had achieved in baseball three years prior.
Watch the official trailer for ‘Sweetwater,’ set to open on April 14.
According to Tim Moore, a producer for Malpaso Productions owned by Clint Eastwood and the individual who undertook the project, the uniqueness of this lies in the fact that even ardent sports fans, when asked about the first African-American to play in the NBA, are unlikely to provide the correct answer. He told NBA.com that during that time, college games and the NIT were more popular. The NBA was primarily concentrated on the East Coast, with no presence west of the Mississippi.
Our tagline is: “Sweetwater’s the man who changed the game.”
The cast, crew, and guests assembled at the Warner Bros. lot on Tuesday evening, filling the studio’s theater for the premiere, were present not just for a movie, but for a christening of sorts. However, the birth of this project took not nine months, but decades.
Nat ‘Sweetwater’ Clifton made history by becoming 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 28 years old when he broke the color line in his sport. Prior to this, he had grown up in Chicago, attended Xavier University in Louisiana, served as a sergeant in the U.S. Army, and played for the all-Black New York Rens and the Harlem Globetrotters. Additionally, he spent some summers working 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.
The idea may appear suitable, similar to matching book ends, if not for the accumulated labor and irritation over the years. Guigui spent some time investigating the story for a book proposal about Clifton. On a few occasions, he also considered the possibility of turning it into a documentary. He was instrumental in nominating and advocating for Clifton’s induction into the Naismith Hall in 2014.
Martin’s dedication and enthusiasm towards the creation of this film has remained unwavering. We were extremely eager to offer our complete support due to the importance of this narrative, and its implications not only for the NBA, but also for our wider society.
— NBA Commissioner Adam Silver
While residing in Los Angeles, he made a living and carved a niche for himself as a filmmaker and musician, collaborating with celebrities 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, brought up a family, bagged awards and, in his leisure time, showcased his extraordinary skills as a player in the renowned L.A. Entertainment League.
Still, there’s no “Sweetwater.” If this seems somewhat recognizable, it’s because I penned an article about this project for NBA.com back in January 2010, 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.’”
Of course, Silver is now the league’s commissioner, having been promoted in 2014 when David Stern retired. Guigui views him as a friend and believes that without his support, the film might have remained in development limbo. Sixty-year-old Silver confessed that despite being a New Yorker and a Knicks fan, he had little knowledge of Clifton’s, Cooper’s, and Lloyd’s stories for many years.
Silver said to NBA.com, “Martin’s dedication and enthusiasm towards producing this film has remained unwavering. We were completely ready to offer our total backing due to the importance of this story and its implications, not only for the NBA, but also for our wider society.”
Guigui presented the script to several producers, including Moore, in the autumn of 2019. However, the onslaught of COVID-19 and the resulting lockdowns brought the film industry and many others to a standstill.
Guigui recounted, “Adam had once suggested to me, ‘It might be the right time to remove that from your drawer. Try to get that movie produced.’ To which I responded, ‘I’m making an effort.’ Later, in the fall of 2021, Tim contacted me. He proposed, ‘We’re beginning to review things. Why not join us for a discussion?'”
When the lights of Hollywood started shining again, Moore found some free time in his agenda. “He claimed it was all set,” the producer explained. “I’m an enormous basketball enthusiast and have always had a dream to work on a basketball film. My knowledge about Sweetwater was limited, but the script appealed to me.”
Moore, known for his collaboration with Eastwood on films like “Gran Torino,” “Million Dollar Baby,” “American Sniper” and “Jersey Boys,” arranged meetings with investors and managed to increase the budget from $5 million to $8 million. Guigui had already obtained a California rebate to offset the cost of producing the movie within the state. Thanks to Moore “pulling some strings,” they were able to conduct filming on location at Warner Bros.
During the filming of “Sweetwater,” a scene is directed by Martin Guigui.
“He mentioned, “It’s quite rare to film an independent movie on a major lot. We managed to give it a studio vibe. However, there were constraints. We didn’t have the luxury to spend tens of millions of dollars to replicate Madison Square Garden. Therefore, we had to be ingenious. We secured the first three rows for our ‘Madison Square Garden’ on this stage and relied on visual effects for the rest.”
Subsequently, since it was a period piece, the emphasis was on the aesthetic. This led us to Disney Ranch, to instill a sense of isolation. We filmed a scene in an authentic barn, featuring the Globetrotters, as that was common in that era.
Guigui stated, “This was a hybrid. It perfectly balanced the passion of an independent production with the efficiency of the studio machinery.”
As Guigui revised the script around 60 times over the years, he began proposing roles and visualizing his cast. In 2010, he had suggested 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. Additional actors like Richard Dreyfuss, Louis Gossett Jr., Mira Sorvino, and Burt Young were also considered for the yet-to-be-determined project.
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, “It was a privilege to portray Joe Lapchick, who played a crucial role in Sweetwater breaking that barrier. He was incredibly passionate, and he recognized a man who deserved to play in the NBA. I deeply 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 too old for Guigui’s needs. He was faced with a typical casting dilemma in sports films: should he choose an actor with the potential to convincingly perform basketball scenes, or should he opt for a basketball player who could act convincingly?
Casting for leading role was a slam dunk
Before venturing into 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 wasn’t a surprise considering Osborne’s background. He had participated in NCAA Division I basketball at the University of Texas-Rio Grande Valley, competing in the Western Athletic Conference. Following his graduation in 2016, he moved to Australia to play professional basketball for two seasons. Afterwards, he returned to his hometown, Los Angeles, to pursue his passion for acting. He managed to make 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 right person to play Sweetwater. The task involved going through hundreds of submissions from the casting team, which included former and current NBA players, actors, and musicians,” he stated.
One tape featured a guy named Everett, who had recorded himself playing basketball in a desolate gym that bore an old-fashion look. Clad in a vintage-style uniform, his playing style mirrored that of Sweetwater Clifton: the high dribble, the big strides, the jumps, and the one-handed dunks. I was impressed thinking, ‘This guy really knows his stuff.’ His look, particularly his haircut, added to his authenticity.
Osborne stated, “I accompanied my uncle to a court where he filmed me in ‘Chuck Taylors’ [sneakers], dressed in small shorts, performing various moves. I dribbled up and down the court in three or four strokes, made cuts, and dunked the ball. I didn’t want any doubles, I wanted every part of me being Sweetwater to be used.”
The 29-year-old also recorded a dramatic reading that held equal significance. Guigui remarked, “He had the authenticity, the vernacular, the tone of his voice,” implying that Osborne’s demeanor was akin to a “young Sidney Poitier.” He added, “Moreover, he’s 6-foot-4, so we didn’t need to alter his height. His basketball skills also seemed like a gift presented by guardian angels.”
As a child, Osborne’s grandfather would take him to the Staples Center to watch Kobe, Shaq, and the three-peat Lakers. It was in that same house last year when he received the call informing him that he had been chosen to be Sweetwater.
“Kobe hitting a game-winner was a full circle moment,” Osborne said.
In the film, Piven, playing the character Lapchick, attempts to persuade Clifton to join the Knicks, creating a goose-bump inducing moment. The player dismisses the idea, citing the NBA’s entirely white rosters. Piven responds confidently, asserting: “It’s not going to be like that forever.”
“Everett’s talent allowed us to shoot all the basketball scenes in a single take,” stated Piven, well-known for his leading role in “Entourage” and countless other parts. “We’re performing those sequences live, with me coaching from the sidelines, and we simply let it flow. He’s a bona fide superstar and this is his breakout moment.”
Portis of the Bucks said, “He’s destined to become a major actor. Just as one playoff series can kickstart a basketball career, it only takes a single movie to launch an acting career.”
All-Star cast delivers authentic performances
In the photo by Tony Rivetti Jr., Richard Dreyfuss (on the left), Cary Elwes, and Everett Osborne are seen performing a scene from “Sweetwater,” which is set to premiere on April 14.
Guigui said that most of the cast and crew were taken by surprise when the production was suddenly greenlit.
“When I informed them about making the movie, specifically Dreyfuss questioned, ‘Are you certain?’ I affirmed it, but he responded skeptically, ‘Sure. Sure, you are certain.’ His disbelief lasted until a week prior to shooting. I contacted him and told him, ‘Richard, you begin filming on Monday. I need you on set in five days.’ He even had his wife verify the truth of my statement over the phone.”
Some supporters had been with “Sweetwater” since its inception, while others had recently joined. The majority were enthusiastic about guiding the project to completion, facilitated by the resources provided by Warner Bros.
“Being on set was enchanting; everyone was incredibly precise and intensely concentrated on authenticity,” Guigui explained. “Focus was not just on truth, but also on accurately recreating, visually, aesthetically, and linguistically, the way people spoke. There was a certain eloquence during that time. People would dress up extravagantly when they went to the Garden, like they were attending an opera.
I recall a time when we had thousands of extras and were recreating the Garden. Our prop master halted one of my shots because he dashed into the crowd to confiscate a modern wristwatch off a man and replaced it with a period-appropriate watch. That incident truly captured the essence of our dedication.
The film covers all anticipated aspects, featuring flashbacks to Clifton’s younger years, and emphasizes the racial discrimination he and other Blacks experienced during that time, both on and off the basketball court. His teammates, regardless if they were Globetrotters or Knicks, showed their support.
This film also provides a cathartic experience. It imparts a sense of cultural healing as you leave, not focusing so much on civil rights or racism, but rather promoting change.
— Director Martin Guigui, on “Sweetwater”
The performances are robust, with Osborne delivering a compelling lead role and Pollak, Piven and Dreyfuss serving as dependable professionals. Solid support comes from Roberts, in an ungrateful bigot role, as well as Starr and Caviezel, who is, of course, perfectly cast as a sportswriter.
Presenting the story from 1950 to a 2023 audience posed a significant challenge. The term “Negro” can be startling in itself, and the unavoidable inclusion of racial slurs to accurately portray the era could cause discomfort among some viewers.
“The truth indeed carries a sharp edge, particularly in its reflection of American history,” said the director. “This isn’t exclusive to the 1950 context of basketball, it’s a depiction of that era. Today’s audience is significantly more ready to digest it than they were in the past.”
Former NBA star and previous executive VP of basketball operations for the league, Kiki VanDeWeghe, attended the premiere Tuesday alongside his brother Bruk and Rick Darnell. Darnell, a former big man for the ABA Virginia Squires, currently heads 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 will be aware of it.”
The basketball scenes are still impressive, truly conveying that Clifton’s style of play was the precursor to Elgin Baylor’s, which stylistically influenced Connie Hawkins, Julius Erving, Magic Johnson and a host of contemporary players. It was a fusion of creativity and competition.
The end credits feature black-and-white photos of the main characters depicted in the film, along with several clips of Clifton in action. Additionally, there is a video clip from later in his life when he worked as a taxi driver in Chicago. His joy, pride, and gratitude for being able to utilize his talents and make a living from a sport he loved are palpable.
“Watching this movie is also a cathartic experience,” said Guigui. “Rather than focusing solely on civil rights or racism, the film promotes change, providing a sense of cultural healing when you leave the theatre.”
The moment Clifton first steps onto the court as a Knicks player is heightened for added drama. Today, as moviegoers step into theaters, Guigui will get to experience that.
“He once said, “There was a period when my sleep was lost over concerns that the film would never be produced. Now, my sleep loss is due to the excitement that it indeed has been 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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