28 years in the making, 'Sweetwater' premieres in theaters
In ‘Sweetwater’, Everett Osborne plays the role of Nathaniel ‘Sweetwater’ Clifton, who became the first African American to sign an NBA contract in 1950. The photo is credited to 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 film about Clifton’s life, also had its own complex and difficult journey from conceptualization and creativity to final production.
Martin Guigui, the director, writer and composer of the film, told NBA.com, “I always had a sense that this story would be shared. I wasn’t certain I’d be the one chosen to tell it, but I felt a strong calling. It was necessary for me to somehow bring this story to the world.”
Guigui, originally from Argentina, spent his childhood in Manhattan during the 1960s. His father, Efrain, who conducted the New York Philharmonic and later the Vermont Symphony Orchestra, exposed him to the world of basketball. He took young Guigui to Madison Square Garden to watch the Harlem Globetrotters. They would later frequent games to see the New York Knicks play, with stars like Walt Frazier, Willis Reed and Earl Monroe.
“Guigui admitted, “I developed an extreme passion for the game’s history. I admired everything Connie Hawkins did. The game was incredibly creative; there was something unique about it.”
“So, as I began playing in junior high and high school, I didn’t fit into the system. The coaches would consistently say to me, ‘That’s not allowed on my court.’ I would think, ‘What is he referring to?'”
Guigui’s coach from a small town in Vermont discussed his attempts at “razzle-dazzle,” a term that some conservative characters in “Sweetwater” would contemptuously use when discussing “the Negro game.”
A few years down the line, in April 1996, Guigui made a slight change in his route to visit his girlfriend while en route to a performance of his band in New York. During his journey, he paused to visit the Naismith Memorial Basketball Hall of Fame. As he was exploring the museum, he noticed the absence of a significant part of his favorite basketball team’s history.
Clifton, the first African-American star to be signed to an NBA contract, had no notable information. Along with Chuck Cooper from Boston and Earl Lloyd from Washington, Clifton integrated professional basketball in the 1950-51 season. This trio accomplished this feat with significantly less recognition and enduring praise than Jackie Robinson received for integrating baseball three years prior.
Watch the official trailer for ‘Sweetwater,’ set to open on April 14.
Tim Moore, a producer at Malpaso Productions, which is owned by Clint Eastwood, and the individual who eventually picked up the project, explained to NBA.com: “What makes this one unique is that even when you ask sports enthusiasts, ‘Who was the first African-American to play in the NBA?’ they don’t have the answer. Back in those days, college games and the NIT were more popular. The NBA was solely an East Coast entity, with nothing occurring west of the Mississippi.”
Our tagline is: “Sweetwater – the man who changed the game.”
The cast, crew, and guests who assembled on the Warner Bros. lot Tuesday evening were there for more than just a movie premiere in the studio’s theater – they were also there for its christening. However, unlike the typical nine months, this project took decades to birth.
Nat ‘Sweetwater’ Clifton becomes 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 helped break the color line in his sport. His journey to this milestone included growing up in Chicago, studying at 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. During the summers, he also worked as a first baseman for the Chicago American Giants in baseball’s Negro League.
The gap from Guigui’s visit to the Hall of Fame to the nationwide release of the director’s “passion project” spans 28 years.
It may appear suitable, similar to book ends or such, but it doesn’t take into account the years of effort and stress. Guigui spent some time researching Clifton’s story for a potential book. He also considered turning it into a documentary on a few occasions. He played a significant role in nominating and campaigning for Clifton’s induction into the Naismith Hall in 2014.
Martin’s dedication and enthusiasm towards creating this film has remained unwavering. We were completely ready to offer our utmost support due to the story’s importance, which resonates not just within the NBA, but also within our wider society.
— NBA Commissioner Adam Silver
Meanwhile, he made a living in Los Angeles, carving out a career as a filmmaker and musician. He collaborated with renowned figures like Faye Dunaway, Jonathan Winters, Robin Williams, Dennis Quaid, Lady Gaga, David Byrne, and Billy Gibbons from ZZ Top, among many others. He tied the knot, started a family, and bagged numerous awards. Additionally, he showcased his unique flair as a player in the celebrated L.A. Entertainment League during his leisure time.
Despite all this, “Sweetwater” still hasn’t happened. If any of this rings a bell, it’s because I penned an article about the project for NBA.com 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.’”
Silver, who became the league’s commissioner in 2014 following David Stern’s retirement, is now considered a friend by Guigui. Without Silver’s support, the lengthy process to get this film on screen may have still been ongoing. Despite being a New Yorker and Knicks fan, the 60-year-old Silver confessed that he had very little knowledge about the stories of Clifton, Cooper, and Lloyd for many years.
Silver informed NBA.com, “Martin’s unwavering commitment and passion for making this film was evident. We readily offered our complete support given the importance of this story, not just to the NBA, but also to the wider society.”
Guigui presented the script once more to several producers, including Moore, in the autumn of 2019. However, the film industry and many others were shut down due to the lockdowns caused by the COVID-19 pandemic.
Guigui recounted, “Adam suggested, ‘This might be the right time to remove that from your drawer. Try to get that film produced.’ I responded, ‘I’m making an effort.’ Then, in autumn 2021, Tim contacted me. He proposed, ‘We’re beginning to review things. Why don’t you join us for a discussion?'”
As the lights of Hollywood started to glow again, Moore found a gap in his timetable. “He stated it was all set,” said the producer. “I’ve always been an enormous basketball fan and have always desired to make a basketball film. I wasn’t very familiar with Sweetwater, but I was attracted to the script.”
Moore, known for his collaborations with Eastwood on movies like “Gran Torino,” “Million Dollar Baby,” “American Sniper,” and “Jersey Boys,” convened with investors and increased the budget from $5 million to $8 million. Guigui had previously obtained a Californian rebate to financially support the in-state filming of the movie. Thanks to Moore “pulling some strings,” they were able to conduct the shooting at Warner Bros. directly.
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. However, there were constraints. We couldn’t afford to spend tens of millions of dollars recreating Madison Square Garden. Hence, we had to be inventive. We had the first three rows for our ‘Madison Square Garden’ on this stage and used visual effects for the rest.”
Subsequently, given that it was a period piece, the focus was on the visual aesthetics. This is why we chose to shoot at Disney Ranch, to create the impression of being isolated. We even filmed a scene in an actual barn, featuring the Globetrotters, as it was something they did at that time.
Guigui stated, “This was a hybrid. It beautifully balanced the passion inherent in an independent production with the efficiency of the studio machine.”
Over the years, Guigui had revised the script approximately 60 times, during which he proposed roles or visualized his cast. In 2010, actors such as James Caan for the role of Knicks owner Ned Irish, Bruce McGill for NBA boss Maurice Podoloff, Ed Lauter for New York coach Joe Lapchick, Smokey Robinson for Sweetwater’s father, and Danny Devito for Trotters impresario Abe Saperstein were considered. Other names like Richard Dreyfuss, Louis Gossett Jr., Mira Sorvino, and Burt Young were also suggested 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 that he considered portraying Joe Lapchick, a crucial figure in Sweetwater’s journey to break barriers, as a gift. He described Lapchick as extremely passionate and someone who recognized a man deserving of a place in the NBA, a sentiment with which Piven deeply resonated.
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 currently 52, while Harris is 53. Guigui, however, required a younger actor. He also had to address the unique casting issue that comes with sports films: Should he choose an actor in the hope that they can manage the basketball scenes, or opt for a player who might be convincing as an actor?
Casting for leading role was a slam dunk
Before pursuing a career in acting, 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.”
It’s not surprising that Osborne had a background in NCAA Division I basketball, having played at the University of Texas-Rio Grande Valley in the Western Athletic Conference. After finishing his studies in 2016, he spent several seasons playing professional basketball in Australia. He then went back to his hometown, Los Angeles, to pursue his acting aspirations. His acting career includes appearances on BET’s “Tyler Perry’s Sistas” and NBC’s “Chicago Fire.”
Guigui soon learned that both boxes were checked.
“The director reflected on the frantic search to find the actor for the role of Sweetwater. He remembered the immense task of sorting through hundreds of applications with the casting team. These included submissions from retired and active NBA players, as well as actors and musicians,” he said.
In this single tape, a man named Everett had recorded himself playing basketball in a seemingly vintage gym. He wore a retro-style uniform, reminiscent of a bygone era. His playing style was strikingly similar to that of Sweetwater Clifton, featuring a high dribble, exaggerated strides, impressive leaps, and one-handed dunks. I was flabbergasted, thinking, ‘This guy has really done his research.’ His look was complete down to his haircut.
Osborne said, “I accompanied my uncle to a basketball court, where he filmed me wearing ‘Chuck Taylors’ [sneakers] and little shorts, performing various basketball moves. I was dribbling up and down the court in just three or four touches, making sharp cuts, and dunking the ball. I didn’t want any stunt doubles, I wanted them to use every bit of me portraying Sweetwater.”
The 29-year-old also recorded a dramatic reading of equal significance. “He possessed the authenticity, the vernacular, his voice tone,” Guigui mentioned, likening Osborne’s demeanor to a “young Sidney Poitier.” “In addition, he stands at 6-foot-4, so there was no need to misrepresent his height. His basketball skills seemed as though they were gifted by guardian angels, almost served on a platter,” he added.
As a child, Osborne’s grandfather used to take him to the Staples Center 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 would be 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, creating a moment fraught with tension. Clifton dismisses this idea, remarking on the NBA’s exclusively white teams. In response, Piven asserts, “It’s not going to be like that forever.”
“Thanks to Everett’s talent, we had the potential to finish all the basketball scenes in a single take,” Piven, famed for his role in “Entourage” and countless others, expressed. “We let the sequences play out in real time, with me coaching in the backdrop, and simply let it roll. He’s undeniably a superstar and this marks his debut.”
Portis from the Bucks stated, “He’s destined to be a high-profile actor. Just as it only takes one playoff series to launch a basketball career, one movie can kickstart an acting career.”
All-Star cast delivers authentic performances
In the scene from “Sweetwater,” set to debut on April 14, Richard Dreyfuss (left), Cary Elwes, and Everett Osborne perform. (Photo credit goes to Tony Rivetti Jr.)
Guigui said that the abrupt approval of the production caught most of the cast and crew off guard.
Upon my call to these guys announcing, ‘We’re proceeding with the movie,’ Dreyfuss was particularly skeptical, questioning, ‘Are you certain?’ To which I confirmed, ‘Yes.’ He responded skeptically, ‘Sure. You’re certain.’ His belief didn’t solidify until a week before the shoot. I called him again and said, ‘Richard, your filming starts Monday. I need you on set in five days.’ He handed the phone to his wife to verify my truthfulness.
Some had been involved with “Sweetwater” from the beginning, while others had joined more recently. The majority were keen to guide the project to completion, with the resources of Warner Bros. facilitating the process.
“Being on set was enchantic, since everyone meticulously focused on authenticity,” said Guigui. “They prioritized truth and aimed to accurately depict not just the visual aspects, but also the aesthetic and linguistic nuances of how people communicated. There was a certain elegance in that era. People used to dress up to the hilt to go to the Garden – it was akin to attending the opera.”
“I recall a time when our prop master interrupted one of my shots. We had thousands of extras and were recreating the Garden. He rushed into the crowd, removed a modern wristwatch from a man, and replaced it with a period-appropriate one. That truly embodied the spirit of our project.”
The film covers all anticipated aspects, including flashbacks to Clifton’s early life, and emphasizes the prejudice 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 support.
This film also provides a cathartic experience. It imparts a sense of cultural healing that isn’t solely focused on civil rights or racism, but rather it encourages change. You will feel this when you finish watching the movie.
— Director Martin Guigui, on “Sweetwater”
The performances are robust, with Osborne leading the cast and Pollak, Piven, and Dreyfuss playing their parts as dependable professionals. There is also strong supporting work from Roberts, who admirably plays an ungrateful bigot, as well as from Starr and Caviezel, who is perfectly cast as a sportswriter.
Presenting the 1950 story to a 2023 audience posed a significant challenge. The usage of the term “Negro” is already quite startling, and the unavoidable inclusion of the “n-word” to portray the reality of that time would undoubtedly cause discomfort among some viewers.
“The truth can be quite raw, particularly in how it mirrors American history,” said the director. “This isn’t solely about 1950’s basketball, it’s about that era as a whole. The audience is now more ready to face 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. He was accompanied by his brother Bruk and Rick Darnell, a former ABA Virginia Squires player who now manages the Los Angeles chapter of the National Basketball Retired Players Association. Their father, Ernie VanDeWeghe, a six-year Knicks player, was a roommate of Clifton.
“The message is wonderful,” stated the ex-NBA executive. “It will now reach a much larger audience.”
The basketball sequences remain impressive, conveying the genuine impression that Clifton’s style of play influenced Elgin Baylor’s, which in turn stylistically inspired Connie Hawkins, Julius Erving, Magic Johnson, and a plethora of contemporary players. Creativity was harmoniously intertwined with competition.
The end credits feature black-and-white photographs of the main characters from the film, along with a few action clips of Clifton. There’s also a video clip of him from his later years when he was working as a taxi driver in Chicago. The clip radiates his 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 movie is also a cathartic experience,” said Guigui. “The film leaves you with a sense of cultural healing. It’s not primarily about civil rights or racism, but rather about promoting change.”
The moment Clifton first steps onto the court as a Knicks player is heightened for added drama. Guigui will experience this as audience members pour into cinemas today.
“He once confessed, “I used to lose sleep over the fear that the film wouldn’t get made. Now, I’m losing sleep out of sheer excitement because it did get 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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