28 years in the making, 'Sweetwater' premieres in theaters
In ‘Sweetwater’, Everett Osborne takes on the role of Nathaniel ‘Sweetwater’ Clifton, the first African American to sign an NBA contract in 1950. The photo is 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, it’s also the background story of “Sweetwater,” the recently released film about Clifton’s life. This film had its own winding and uneven journey from the initial inspiration and creative vision to the final production.
Martin Guigui, the director, writer, and composer of the film, confided in NBA.com, “I was always certain this story would come to light. Although I wasn’t sure I would be the one chosen to narrate it, I felt a sense of purpose towards it. I was compelled to share this story with the world.”
Guigui, originally from Argentina, spent his childhood in Manhattan during the 1960s. His father Efrain, who conducted the New York Philharmonic before leading the Vermont Symphony Orchestra, often took him to Madison Square Garden to see the Harlem Globetrotters in action. Eventually, Guigui became an avid spectator of the New York Knicks, featuring players such as Walt Frazier, Willis Reed, and Earl Monroe.
“Guigui confessed, “I evolved into an absolute fanatic when it came to the history of the game. I admired everything Connie Hawkins did. The game was inventive, there was something distinct about it.”
“When I began playing in junior high and high school, I didn’t conform to the system. Coaches would constantly say to me, ‘That’s not allowed on my court.’ I would often wonder, ‘What is he referring to?'”
Guigui’s coach from a small Vermont town spoke about his attempts at “razzle-dazzle,” a term disdainfully used by some old-fashioned characters in “Sweetwater” to describe what they called “the Negro game.”
In April 1996, several years later, Guigui decided to visit a girlfriend as he was on his way to one of his band’s concerts in New York. He made a stop at the Naismith Memorial Basketball Hall of Fame during his detour. As he perused the museum, he sensed that his favorite team’s history was not fully represented.
Clifton, the first African-American star to be signed to an NBA contract, had no notable records. Along with Boston’s Chuck Cooper and Washington’s Earl Lloyd during the 1950-51 season, Clifton helped to integrate professional basketball. Despite the lack of high-profile recognition or long-lasting acclaim, they collectively achieved what Jackie Robinson had done in baseball three years before.
Watch the official trailer for ‘Sweetwater,’ set to open on April 14.
Tim Moore, a producer for Malpaso Productions owned by Clint Eastwood, and the person who eventually undertook the project, shared with NBA.com, “This project is unique in the sense that if you were to ask sports enthusiasts ‘Who was the first African-American to compete in the NBA?’ they wouldn’t be able to tell you. During that period, college basketball and the NIT were more popular. The NBA was solely on the East Coast, with no representation west of the Mississippi.”
Our slogan is: Sweetwater, the man who revolutionized the game.
On Tuesday evening, the Warner Bros. lot was filled with cast, crew, and guests who gathered in the studio’s theater for the premiere. They were there not only for a movie, but also to witness a christening of sorts. However, this project’s birth took not nine months, but decades.
Nat ‘Sweetwater’ Clifton forever altered the game of basketball by making history as the first African American to sign an NBA contract.
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. His journey began in Chicago, where he was raised, before he went on to study at Xavier University in Louisiana. He served as a sergeant in the U.S. Army before pursuing his sports career. He 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 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.
The idea may appear suitable, akin to bookends or similar, if not for the years of labor and irritation. Guigui spent some time investigating the story for a book proposal about Clifton. At some points, he even considered turning it into a documentary. He played a part in nominating Clifton and campaigning for his induction into the Naismith Hall in 2014.
Martin’s dedication and enthusiasm towards the creation of this film has remained unwavering. We were completely on board, providing our utmost support due to the importance of the narrative and its implications not only for the NBA, but for the wider society as well.
— NBA Commissioner Adam Silver
Meanwhile, he sustained himself in Los Angeles by establishing a career as a filmmaker and musician, collaborating with renowned figures 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, and received awards. During his leisure time, he showcased his exceptional talent as a player in the legendary L.A. Entertainment League.
Still, there’s no “Sweetwater.” If this seems somewhat recognizable, it’s because I penned an article about the project for NBA.com in January 2010, which was almost half of its existence 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 is now the league’s commissioner, was promoted in 2014 after David Stern’s retirement. Guigui, who considers Silver a friend, believes that without his support, the film might still be waiting to be brought to the screen. Even Silver, a 60-year-old New Yorker and Knicks fan, confessed that he had little knowledge about the stories of Clifton, Cooper, and Lloyd for many years.
“Martin’s unwavering dedication and enthusiasm towards making this film was crystal clear,” Silver communicated to NBA.com. “Because of the importance of this story and its implications not only for the NBA, but for our wider society, we were more than ready to extend our complete support.”
Guigui presented the script once more to several producers, including Moore, in the autumn of 2019. However, the outbreak of COVID-19 and subsequent lockdowns brought the film industry, along with numerous others, to a standstill.
Guigui recalled, “Adam had once suggested, ‘This would likely be an ideal time to remove that from your drawer. Try to get that movie produced.’ I responded, ‘I’m trying.’ Then in the fall of 2021, I received a call from Tim. He proposed, ‘We’re beginning to review things. Why don’t you visit us and we can discuss it?'”
When the lights in Hollywood started to glow again, Moore found some free time in his schedule. “He was all set,” the producer shared. “As a major basketball enthusiast, I’ve always dreamed of making a basketball film. I wasn’t familiar with Sweetwater, but I enjoyed the script.”
Moore, known for his collaborations with Eastwood on films like “Gran Torino,” “Million Dollar Baby,” “American Sniper,” and “Jersey Boys,” convened with investors to increase the budget from $5 million to $8 million. Guigui had previously secured a California rebate to offset the costs of producing the movie locally. Thanks to Moore “pulling some strings,” they managed to secure shooting right 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 a frequent occurrence. We managed to give it a studio vibe. However, there were constraints. We couldn’t shell out tens of millions to replicate Madison Square Garden. This required us to be innovative. We secured the first three rows for our ‘Madison Square Garden’ on this stage, and the rest were visual effects.”
Then, since it was a period piece, the focus was on the aesthetic. This is why we chose Disney Ranch, to create the atmosphere of being in a remote location. We filmed a scene in an actual barn, featuring the Globetrotters playing there, a common occurrence during that time.
Guigui stated, “This was a hybrid. It struck a perfect balance between the passion involved in an independent production and the efficiency of the studio machine.”
As Guigui revised the script approximately 60 times over the years, he began to consider actors for roles or visualize his cast. As far back as 2010, there was talk of actors like James Caan playing 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 names mentioned 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 was a pivotal figure in Sweetwater breaking that barrier, was a privilege,” Piven shared with NBA.com. “His extreme passion made him recognize a man who deserved to play in the NBA. I found 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 is currently 52, while Harris is 53. Guigui required a younger person. Moreover, he faced the unique casting dilemma often encountered with sports films: Should he choose an actor in the hopes they can handle the basketball scenes, or should he opt for a player who can convincingly act?
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’s not surprising: Osborne had been a NCAA Division I basketball player at the University of Texas-Rio Grande Valley, participating in the Western Athletic Conference. After completing his studies in 2016, he played professional basketball in Australia for two seasons. Later, he returned to his hometown, Los Angeles, to pursue his acting career. He 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 actor for the role of Sweetwater. The task involved going through hundreds of submissions alongside casting professionals. These submissions included retired and current NBA players, actors, and musicians,” said the director.
There was a tape of a guy named Everett playing basketball by himself in a seemingly antiquated gym. He was clad in a retro-style uniform, his gameplay mirroring the style of Sweetwater Clifton – high dribbles, exaggerated steps, airborne leaps, and one-handed dunks. I was amazed and thought, ‘This guy is well-prepared.’ His appearance, right down to his hairstyle, was also on point.
Osborne stated, “I accompanied my uncle to a basketball court. He captured me on film wearing ‘Chuck Taylors’ sneakers and small shorts, performing a variety of moves. I traversed the court in three or four dribbles, making cuts, and dunking the ball. I insisted on no doubles; I wanted them to utilize every aspect of me being Sweetwater.”
The 29-year-old also recorded a dramatic reading that held equal significance. “He had the authenticity, the vernacular, the tone of his voice,” expressed Guigui, stating that Osborne’s demeanor recalled a “young Sidney Poitier.” “In addition, he’s 6-foot-4, so there was no need to exaggerate his height. And the way he played basketball was as though he was presented to us by guardian angels,” he added.
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. Last year, he was at that very house when he received the call informing him that he’d become Sweetwater.
“Kobe hitting a game-winner represented a full circle moment,” said Osborne.
In the film, Piven, acting as Lapchick, has a chilling moment when he attempts to persuade Clifton to join the Knicks. Clifton dismisses his efforts, bringing up the NBA’s entirely white teams. Piven then leans in and assures him, “It’s not going to be like that forever.”
“Everett’s talent enabled us to complete all the basketball scenes in a single take,” stated Piven, renowned for his leading role in “Entourage” and numerous other parts. “We’re executing those sequences in real time, with me coaching in the background, and we just let it flow. He’s undeniably a superstar, and this is his breakout moment.”
Portis of the Bucks stated, “He’s destined to be a significant 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
Richard Dreyfuss (on the left), Cary Elwes, and Everett Osborne are seen performing a scene from “Sweetwater,” set to premiere on April 14. (Photo courtesy of Tony Rivetti Jr.)
Guigui said that most of the cast and crew were taken by surprise by the sudden greenlighting of the production.
When I informed these gentlemen that we were proceeding with the movie, Dreyfuss was particularly skeptical, questioning, ‘Are you certain?’ Despite my affirmation, he expressed doubt, repeating, ‘Sure. Sure, you’re certain.’ His disbelief persisted until the week preceding filming. I had to reassure him, ‘Richard, your shooting begins on Monday. I require your presence on the set in five days.’ To ascertain my honesty, he even had his wife speak to me on the phone.
Some had been involved with “Sweetwater” from its inception, while others had joined more recently. The majority were keen to guide the project to completion, facilitated by the resources provided by Warner Bros.
Guigui commented, “Being on set was enchanting. Everyone was extremely precise and hyper-focused on authenticity. Our aim was not only to visually recreate the era but also to capture the aesthetic and linguistic nuances of the time. There was a certain eloquence back then. People would dress in their finest clothes to visit the Garden, as if they were attending the opera.”
“I recall an instance where our prop master, amidst thousands of extras and a recreated Garden, interrupted one of my shots. He had rushed into the crowd to remove a modern wristwatch from a man and replaced it with a period-piece watch. That truly embodied the spirit of our production.”
The film covers all anticipated aspects, including flashbacks to Clifton’s younger years and showcases the discrimination he and other Blacks experienced during that time, both on and off the court. His teammates, whether they were Globetrotters or Knicks, offered their support.
This film also provides a cathartic experience. When you finish watching it, there’s a feeling of cultural healing that it imparts. It’s not primarily focused on civil rights or racism, but more about promoting change.
— Director Martin Guigui, on “Sweetwater”
The performances are powerful, with Osborne delivering as the lead, and Pollak, Piven, and Dreyfuss as dependable professionals. Solid support is provided by the likes of Roberts, who plays a thankless bigot role, Starr, and Caviezel, who is perfectly cast as a sportswriter.
One hurdle in narrating the tale from 1950 was making it relatable to a 2023 audience. The mention of “Negro” is already quite startling, and the unavoidable use of the “n-word” to mirror the reality of those times may cause discomfort among some viewers.
“The truth has a certain sharpness, especially in how it mirrors American history,” stated the director. “This wasn’t unique to basketball in 1950, it’s representative of that era. Audiences today are far more ready to face it than they were years ago.”
Former NBA star, Kiki VanDeWeghe, who also served as the league’s executive VP of basketball operations for eight years, attended a premiere Tuesday. He was there with his brother, Bruk, and Rick Darnell. Darnell, once a big man for the ABA Virginia Squires, currently manages the National Basketball Retired Players Association’s chapter in Los Angeles. The father of the VanDeWeghes, Ernie, played with the Knicks for six years and was roommates with Clifton.
“The message is wonderful,” said the former NBA executive. “Now, a lot more people will be aware.”
The basketball scenes remain impressive, conveying a real sense that Clifton’s style of play influenced Elgin Baylor’s, which in turn stylistically influenced Connie Hawkins, Julius Erving, Magic Johnson, and numerous contemporary players. Creativity intertwined with competition.
As the end credits roll, we see black-and-white photographs of the main characters featured in the film, interspersed with a few action clips of Clifton. There’s also a video snippet from his later years when he was a taxi driver in Chicago. He radiates happiness, pride, and gratitude for the chance to utilize his skills and earn a living from a sport he adored.
“Experiencing this movie is also cathartic,” said Guigui. “It provides a feeling of cultural healing as you leave, not necessarily focusing on civil rights or racism, but instead promoting change.”
Extra drama is added to the moment Clifton first steps on the court as a Knicks player. As moviegoers step into theaters today, Guigui will get to experience that.
“He once said, ‘I used to lose sleep worrying that the film would never be produced. Now, I’m losing sleep out of sheer excitement because it 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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