28 years in the making, 'Sweetwater' premieres in theaters
Everett Osborne takes on the role of Nathaniel ‘Sweetwater’ Clifton, the first African American to sign an NBA contract in 1950, in the movie ‘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.
The backstory of “Sweetwater,” the newly released film about Clifton’s life, also describes its own challenging journey from initial inspiration and creative vision to final production.
Martin Guigui, the film’s director, writer, and composer, told NBA.com, “I always had the belief that this story would be shared. I was uncertain if I would be the one chosen to do so, but I felt a calling. I knew I needed to convey this story to the world.”
Guigui, originally from Argentina, spent his formative years in Manhattan during the 1960s. His father, Efrain, was the maestro of the New York Philharmonic before moving on to conduct the Vermont Symphony Orchestra. Efrain often took Guigui to watch the Harlem Globetrotters’ basketball games at Madison Square Garden. Later on, they would go to see the New York Knicks, featuring players like Walt Frazier, Willis Reed, and Earl Monroe.
“Guigui confessed, “I turned into a hardcore enthusiast for the game’s history. I admired everything Connie Hawkins did. The game had creativity and a unique aspect to it.”
When I began playing during junior high and high school, I didn’t mesh well with the system. The coaches would constantly say to me, ‘You can’t do that on my court.’ I would often wonder, ‘What does he mean by that?’
In a small town in Vermont, Guigui’s coach was discussing his attempts at “razzle-dazzle,” a term disdainfully used by some straight-laced characters in “Sweetwater” to refer to “the Negro game.”
In April 1996, several years later, Guigui made a side trip to visit a girlfriend en route to one of his band’s performances in New York. He paused at the Naismith Memorial Basketball Hall of Fame during his journey. As he wandered through the museum, he noticed the absence of a part of the history of his favorite team.
Clifton, the first African-American star to be signed to an NBA contract, had nothing to be found. Along with Chuck Cooper from Boston and Earl Lloyd from Washington, Clifton integrated professional basketball in the 1950-51 season. This trio achieved what Jackie Robinson had done for baseball three years prior, albeit with significantly less recognition and acclaim.
Watch the official trailer for ‘Sweetwater,’ set to open on April 14.
Tim Moore, a producer working with Clint Eastwood’s Malpaso Productions and the individual who finally accepted the project, spoke to NBA.com, stating, “This one is unique. Even if you ask sports fans, ‘Who was the first African-American to play in the NBA?’ they might not know the answer. Back in the day, college basketball and the NIT were more popular. The NBA was solely based on the East Coast, with no presence west of the Mississippi.”
Our tagline is: “Sweetwater – the man who changed the game.”
The cast, crew, and guests who convened at the Warner Bros. lot on Tuesday evening for the premiere filled the studio’s theatre as if they were there for a christening rather than a movie. However, this project’s birth took decades, not merely nine months.
Nat ‘Sweetwater’ Clifton made history as the first African American to ink a contract with the NBA, 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 to break the color line in his sport. Prior to this, he grew 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. During the summers, he also worked as a first baseman for the Chicago American Giants in the Negro League of baseball.
The gap between Guigui’s visit to the Hall of Fame and the nationwide release of the director’s “passion project” is 28 years.
It might appear appropriate, akin to book ends or such, if it weren’t for the years of toil and exasperation. Guigui spent some time studying Clifton’s story for a potential book project. On a couple of occasions, he considered turning it into a documentary. He even contributed to the efforts for Clifton’s induction into the Naismith Hall in 2014.
Martin’s dedication and enthusiasm towards the production of this film has remained unwavering. We were completely prepared to offer 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 and carved a career for himself as a filmmaker and musician in Los Angeles, collaborating with renowned personalities like Faye Dunaway, Jonathan Winters, Robin Williams, Dennis Quaid, Billy Gibbons of ZZ Top, Lady Gaga, David Byrne, and many others. He tied the knot, started a family, received accolades, and even showcased his unique flair as a player in the famous L.A. Entertainment League during his free time.
Still, there’s no “Sweetwater.” You may find this vaguely familiar because I discussed this project for NBA.com in January 2010, which was 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 took over as the league’s commissioner in 2014 following David Stern’s retirement, is considered a friend by Guigui. Without his support, the long-awaited film might not have come to fruition. Despite being a New Yorker and a Knicks fan, 60-year-old Silver confessed that he had little knowledge of Clifton’s, Cooper’s, and Lloyd’s stories for many years.
Silver conveyed to NBA.com that Martin’s dedication and enthusiasm towards the creation of this film has remained unwavering. He stated that they were fully ready to offer their complete support due to the importance of the film’s narrative, not only to the NBA, but also to the wider society.
Guigui presented the script to different producers, including Moore, in the autumn of 2019. However, the outbreak of COVID-19 and the subsequent lockdowns closed down the film industry among many others.
Guigui recounted, “Adam suggested, ‘This might be the right moment to pull that from your drawer. Try to make that movie.’ I replied, ‘I’m trying.’ Then, in the fall of 2021, Tim contacted me. He proposed, ‘We’re beginning to review things. Why don’t you come in and we can discuss it?'”
As the lights of Hollywood started to shine again, Moore found a slot in his timetable. “He claimed everything was set,” mentioned the producer. “I’m an ardent basketball enthusiast who has always dreamt of making a basketball movie. I wasn’t very familiar with Sweetwater, but I was fond of the script.”
Moore, a collaborator of Eastwood on films 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 for in-state movie production, and thanks to Moore “pulling some strings,” they managed to shoot directly at Warner Bros.
During the filming of “Sweetwater,” a scene is directed by Martin Guigui.
“He said, ‘It’s rare to have the opportunity to film an independent movie on a major lot. We managed to give it a studio feel. However, there were constraints. We weren’t able to allocate 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 and used visual effects for the rest.”
Following that, as it was a period piece, the focus was on the visual aesthetic. This is why we chose to shoot at Disney Ranch, to emulate the feeling of being in the middle of nowhere. We even filmed a scene in an actual barn, featuring the Globetrotters playing, as this was something they did back then.
Guigui stated, “This was a hybrid. It perfectly balanced the passion inherent in independent production and the efficiency of the studio machine.”
As Guigui revised the script around 60 times, he gradually formed a vision for his cast and offered roles. In 2010, there were mentions of 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, a key figure in Sweetwater breaking the racial barrier, was a privilege,” Piven shared with NBA.com. “Lapchick was incredibly passionate and saw the potential in a man deserving of a place in the NBA. I felt a deep connection 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, at 52, and Harris, at 53, were considered too old by Guigui. The director faced the common casting dilemma of sports films: should they choose an actor who might be able to perform the basketball scenes, or a player who might be able to act convincingly?
Casting for leading role was a slam dunk
Before pursuing his 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 doesn’t come as a surprise that Osborne had a background in NCAA Division I basketball, as he played at the University of Texas-Rio Grande Valley in the Western Athletic Conference. After completing his graduation in 2016, he ventured into professional basketball in Australia for two seasons. He then moved back to Los Angeles to pursue his acting aspirations. He landed roles 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 cast the role of Sweetwater, a task which involved combing through hundreds of submissions with a casting team. These submissions included a diverse pool of retired and current NBA players, actors, and musicians,” he said.
On this particular tape, a man named Everett had recorded himself playing basketball in a seemingly vintage gym. He was clad in a retro-style uniform, his play mirroring the likes of Sweetwater Clifton: the elevated dribbles, the giant strides, the aerial leaps, and the one-handed dunks. I thought to myself, ‘This man has really done his research.’ His look, even 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 executing all kinds of moves. I was dribbling up and down the court, making cuts, and dunking the ball in three or four dribbles. I didn’t want any doubles; I wanted every bit of me being Sweetwater to be utilized.”
The 29-year-old also recorded a dramatic reading of equal significance. “He embodied authenticity, vernacular, tone of voice,” Guigui noted, comparing Osborne’s demeanor to a “young Sidney Poitier.” “Moreover, he’s 6-foot-4, eliminating the need to adjust his height. His basketball skills seemed as though they were gifted by guardian angels,” Guigui added.
As a child, Osborne’s grandfather would take him to the Staples Center to watch Kobe, Shaq, and the three-peat Lakers. 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 was a full circle moment,” said Osborne.
In the film, Piven, portraying Lapchick, has a moment of intense anticipation as he attempts to persuade Clifton to join the Knicks. Clifton dismisses the offer, pointing out the NBA’s entirely white teams. Piven, undeterred, leans in and assures him, “It’s not going to be like that forever.”
Piven, known for his lead role in “Entourage” and numerous other parts, said, “Everett’s skill allowed us to complete all the basketball scenes in a single take. We filmed those sequences in real time, with me coaching in the background and just letting it roll. He’s undoubtedly a superstar, and this is his grand debut.”
Portis of the Bucks said, “He’s destined to be a successful actor. Similar to how a single playoff series can jumpstart a basketball career, it only takes one movie to launch an acting career.”
All-Star cast delivers authentic performances
In the forthcoming “Sweetwater,” debuting on April 14, a scene is enacted by Richard Dreyfuss (on the left), Cary Elwes, and Everett Osborne. (Photo credit goes to Tony Rivetti Jr.)
Guigui said that most of the cast and crew were taken by surprise when the production was suddenly greenlighted.
“When I informed these gentlemen that we were proceeding with the film production, Dreyfuss especially expressed skepticism. He asked, ‘Are you certain?’ I assured him I was and he responded with obvious doubt, ‘Sure. Sure, you’re certain.’ His disbelief persisted until the week prior to shooting. I reached out to him again, reminding him, ‘Richard, your filming begins Monday. I’ll require your presence on set in five days.’ To confirm my sincerity, he had his wife speak to me on the phone.”
Several people had supported “Sweetwater” from its inception, while others had recently joined. The majority were keen to guide the project to completion, facilitated by the resources of Warner Bros.
“Being on set was enchanting. Everyone paid great attention to detail and was committed to achieving authenticity,” Guigui said. “We focused on truth, on accurately replicating not just visually but also aesthetically and linguistically how people talked back then. There was a certain elegance in those times. People would dress up extravagantly to go to the Garden. It was as if they were going to the opera.”
I recall a time when our prop master interrupted one of my shots during the filming with thousands of extras and the recreation of the Garden. He dashed into the crowd, spotted a man wearing a modern wristwatch, quickly removed it, and replaced it with a period-appropriate piece. This truly embodied the spirit of our production.
The film covers all anticipated aspects, incorporating scenes from Clifton’s early years, and emphasizes the prejudice he and other African Americans faced during that period, both on and off the court. His teammates, whether from the Globetrotters or the Knicks, were supportive.
This film also offers a cathartic experience. It imparts a sense of cultural healing that you feel as you walk away from it. It’s less about civil rights or racism, and more about promoting change.
— Director Martin Guigui, on “Sweetwater”
The performances are robust, with Osborne leading the pack and Pollak, Piven and Dreyfuss providing strong professional performances. Solid supporting roles are delivered by Roberts (in a challenging role as a bigot), Starr, and Caviezel, who is aptly cast as a sportswriter.
Presenting the 1950 narrative to a 2023 audience posed a significant challenge. The use of the term “Negro” can be startling, and the unavoidable use of the “n-word” to mirror the reality of that time may make some viewers uncomfortable.
“The truth has a lot of sharpness, particularly in how it mirrors American history,” remarked the director. “This wasn’t just about basketball in 1950 – it was indicative of that era. Today’s audience is significantly more ready to accept this than they were in the past.”
Former NBA star Kiki VanDeWeghe, who also served as the league’s executive VP of basketball operations for eight years, attended a premiere on Tuesday along with his brother Bruk and Rick Darnell. Darnell, a former ABA Virginia Squires big man, is now in charge of the Los Angeles chapter of the National Basketball Retired Players Association. The VanDeWeghes’ father, Ernie, had a six-year stint with the Knicks and was roommates with Clifton.
“The message is wonderful,” said the ex-NBA executive. “Now, many more people are going to be aware.”
The basketball sequences remain impressive, conveying a genuine idea that Clifton’s style of play influenced Elgin Baylor’s, which in turn stylistically inspired Connie Hawkins, Julius Erving, Magic Johnson, and numerous contemporary players. Creativity was intertwined with competition.
As the end credits roll, we see black-and-white photographs of the main characters from the film, interspersed with a few action clips of Clifton. A video clip from his later years, where he’s seen driving a taxi in Chicago, is also presented. Clifton radiates happiness, self-respect, and gratitude for having had the chance to utilize his skills and make a living from a sport he adored.
“This movie also provides a cathartic experience,” said Guigui. “Beyond civil rights and racism, it fosters a sense of cultural healing and encourages change, which is what you feel when you leave the theater after watching this film.”
The moment Clifton first steps onto the court as a Knicks player is imbued with extra drama. Today, as moviegoers step into theaters, Guigui will get to experience that.
“He once said, “I used to lose sleep worrying that the film would never be made. Now, the excitement that it was actually made is what’s keeping me awake.”
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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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