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 the movie ‘Sweetwater’. (Photo credit: 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, this is also the backstory of “Sweetwater,” a recently released movie about Clifton’s life. This film has journeyed its own complex and difficult path, from initial inspiration and creative concept to final production.
Martin Guigui, who served as the director, writer, and composer of the film, told NBA.com, “It was always clear to me that this story would be shared. I wasn’t certain I would be the one to do it, but I felt compelled. It was my duty to somehow bring this story to global attention.”
Guigui, originally from Argentina, spent his childhood in Manhattan during the 1960s. His father, Efrain, who was the conductor of the New York Philharmonic and later the Vermont Symphony Orchestra, took him to Madison Square Garden to watch the Harlem Globetrotters. In later years, they also watched the New York Knicks play, a team then led by Walt Frazier, Willis Reed, and Earl Monroe.
“Guigui confessed, “I turned into an absolute history fanatic for the game. I admired everything Connie Hawkins did. The game was so creative, there was just something unique about it.”
“So, during my junior high and high school years when I began playing, I didn’t really fit into the system. The coaches would always say to me, ‘That’s not allowed on my court.’ I would wonder, ‘What is he even talking about?'”
Guigui’s coach from a small town in Vermont discussed his attempts at “razzle-dazzle,” a term that some conservative characters in “Sweetwater” would disdainfully use when referring to “the Negro game.”
Several years later, in April 1996, Guigui veered off his route to visit a girlfriend while on his way to one of his band’s performances in New York. During his journey, he made a stop at the Naismith Memorial Basketball Hall of Fame. While browsing through the museum, he noticed that a part of his beloved team’s history was missing.
Clifton, the first African-American star to be signed to an NBA contract, had no notable records or achievements. Along with Boston’s Chuck Cooper and Washington’s Earl Lloyd in the 1950-51 season, Clifton helped to integrate professional basketball. Together, they achieved what Jackie Robinson had done for baseball three years prior, albeit with much less publicity and enduring praise.
Watch the official trailer for ‘Sweetwater,’ set to release on April 14.
Tim Moore, a producer from Clint Eastwood’s Malpaso Productions and the individual who eventually assumed responsibility for the project, shared with NBA.com that this subject matter is unique. He noted that even sports enthusiasts would struggle to identify the first African-American NBA player. He pointed out that during those times, college basketball and the NIT held more significance. The NBA was only located on the East Coast, with no presence west of the Mississippi.
Our tagline is: “Sweetwater – the man who changed the game.”
The Warner Bros. lot was bustling with activity on Tuesday evening as the cast, crew, and guests convened for the premiere, filling the studio’s theater. The event was as much a christening as it was a movie premiere, marking the birth of a project that, unlike the usual nine months, had taken decades to come to fruition.
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 28 years old when he helped break the color line in his sport. His journey to this point included growing up in Chicago, attending Xavier University in Louisiana, serving as a sergeant in the U.S. Army, and playing for the all-Black teams New York Rens and the Harlem Globetrotters. During the summers, he also played 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” was 28 years.
It may appear appropriate, similar to book ends or something of the sort, but the years of labor and aggravation tell a different story. Guigui spent some time investigating the tale for a prospective book about Clifton. Eventually, he mulled over the idea of turning it into a documentary a few times. He even played a part 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 have remained unwavering. Given the importance of this story, not just for the NBA but also for our wider society, we were completely ready to offer our full assistance.
— NBA Commissioner Adam Silver
Meanwhile, he was making a living and establishing his career as a filmmaker and musician in Los Angeles, collaborating with notable names 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 even managed to bring his personal flair to the esteemed L.A. Entertainment League in his free time.
Despite all this, “Sweetwater” is still absent. If this is ringing any bells, it’s because I discussed this project on NBA.com in January 2010, which is 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 became the league’s commissioner in 2014 after David Stern retired, is considered a friend by Guigui. Without Silver’s support, the film might have remained in development for much longer. Even Silver, a 60-year-old New Yorker and Knicks fan, confessed that he had little knowledge of the stories of Clifton, Cooper, and Lloyd for many years.
Silver informed NBA.com that Martin’s dedication and enthusiasm towards the creation of this film has remained constant. He further added that they were ready to give their complete support due to the paramountcy of this narrative and its implications for both the NBA and society at large.
Guigui presented the script to several producers, including Moore, in the autumn of 2019. However, the outbreak of COVID-19 and subsequent lockdowns led to the closure of the film industry among many others.
Guigui recounted, “I recall Adam suggesting, ‘This would likely be a good 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 explore options. Why don’t you join us and discuss it?'”
When the lights of Hollywood started shining again, Moore found some free time in his schedule. The producer shared, “He stated that everything was set.” He continued, “I am a huge basketball enthusiast and I’ve always wanted to make a basketball movie. I wasn’t very familiar with Sweetwater, but I was drawn to the script.”
Moore, known for his collaborations with Eastwood on films including “Gran Torino,” “Million Dollar Baby,” “American Sniper,” and “Jersey Boys,” discussed with investors and increased the budget from $5 million to $8 million. Guigui had already secured a rebate from California to offset the costs of producing the movie locally. With Moore leveraging his connections, they managed to secure a shooting location at Warner Bros.
During the filming of “Sweetwater,” a scene is directed by Martin Guigui.
“He noted that it’s quite rare to shoot an independent film on a major lot. We tried to give it a studio feel, but there were constraints. We couldn’t afford to spend tens of millions of dollars to replicate Madison Square Garden. So, we had to be imaginative. We managed to secure the first three rows for our ‘Madison Square Garden’ on this stage, and utilized visual effects for the rest,” he explained.
Following this, we focused on creating an authentic aesthetic suitable for a period piece. This led us to select Disney Ranch as our shooting location, aiming to evoke a sense of isolation. We even filmed a scene in an actual barn, featuring the Globetrotters, as this was common during that era.
Guigui stated, “This was a hybrid. It perfectly balanced the passion inherent in independent production with the efficiency of studio machinery.”
Over time, Guigui had made approximately 60 revisions to the script, during which he had offered roles or had envisioned his cast. In 2010, actors like James Caan, envisaged as Knicks owner Ned Irish, Bruce McGill, cast as NBA boss Maurice Podoloff, Ed Lauter, playing New York coach Joe Lapchick, Smokey Robinson, as Sweetwater’s father, and Danny Devito, as Trotters impresario Abe Saperstein, were mentioned. Other names proposed 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 Joe Lapchick, a key figure in Sweetwater’s journey to break the barrier, was a blessing,” Piven said to NBA.com. “Lapchick was extremely passionate and recognized a player who deserved to be 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 is now 52 and Harris is 53. Guigui needed a younger actor to meet the unique casting challenges of sports films. The question was whether to choose an actor, hoping they could manage the basketball scenes, or opt for a player with acting skills.
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’s not surprising to learn that Osborne had a history in NCAA Division I basketball, having played at the University of Texas-Rio Grande Valley in the Western Athletic Conference. Post his graduation in 2016, he pursued a professional basketball career in Australia for two seasons. He then moved back to Los Angeles to follow his acting aspirations. He has since made appearances on shows like 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 to play Sweetwater. He mentioned the process involved sifting through hundreds of submissions from a diverse group of applicants including retired and current NBA players, actors, and musicians,” in collaboration with the casting team.
This one recording depicted a man named Everett playing basketball in a seemingly vintage gym, all by himself. He was clad in a retro-style uniform, and his game was eerily reminiscent of Sweetwater Clifton’s style – the elevated dribble, the large strides, the jumps into the air, and the one-handed slams. I thought to myself, ‘This gentleman has definitely done his research.’ Even his haircut fit the look.
Osborne stated, “I accompanied my uncle to a basketball court where he recorded me wearing ‘Chuck Taylors’ sneakers and short shorts, performing various moves. I was running up and down the court, dribbling three or four times, making cuts, and dunking the ball. I wanted to be authentic, I didn’t want any doubles. I desired for them to capture every essence of me being Sweetwater.”
Additionally, the 29-year-old recorded a dramatic reading that held equal importance. Guigui commented on his authenticity, vernacular, and the tone of his voice, likening Osborne’s demeanor to that of a “young Sidney Poitier”. He added, “He is also 6-foot-4, so there was no need to manipulate his height. His basketball skills were so impressive, it felt as if he was gifted to us by guardian angels.”
As a child, Osborne’s grandfather would take him to the Staples Center to watch Kobe, Shaq and the Lakers during their three-peat reign. It was at that very house where he received the call last year, informing him that he had landed the role of Sweetwater.
“Kobe hitting a game-winner,” Osborne said, “was a full circle moment.”
In the film, Piven, playing the role of Lapchick, has a moment that gives him goosebumps when he tries to persuade Clifton to join the Knicks. The player derides the notion, pointing out the NBA’s all-white lineups. Piven counters with a close-up declaration: “It’s not going to be like that forever.”
“Everett’s skill allowed us to complete all the basketball scenes in a single take,” stated Piven, known for his lead role in “Entourage” and numerous other parts. “We’re executing those sequences in real time, with me guiding from the sidelines and allowing the scenes to naturally unfold. He’s truly a superstar, and this is his breakout moment.”
Portis from the Bucks stated, “He’s destined to be a huge actor. Just as one playoff series can kick-start a basketball career, it only takes one movie to launch an acting career.”
All-Star cast delivers authentic performances
In the upcoming movie “Sweetwater,” set to debut on April 14, Richard Dreyfuss (on the left), Cary Elwes, and Everett Osborne are seen acting out a scene. (Photo credit: Tony Rivetti Jr.)
Guigui stated that most of the cast and crew were taken by surprise when the production was abruptly greenlit.
“When I informed them about the movie production, Dreyfuss, in particular, was skeptical. He questioned, ‘Are you certain?’ I affirmed, but he responded with a doubtful ‘Sure, you’re certain.’ He didn’t truly believe it until the week before filming began. I rang him up and told him, ‘Richard, your shooting starts this Monday. I need you on the set in five days.’ To confirm my sincerity, he handed the phone to his wife.”
Some had been involved with “Sweetwater” from the beginning, while others had only recently joined. The majority were keen to guide the project to completion, with the resources of Warner Bros. making the process smoother.
“Being on set was enchanting, as everyone was highly precise and keenly concentrated on maintaining authenticity,” expressed Guigui. “There was a focus on truth and recreating not just the visual aspects, but also the aesthetic and linguistic nuances of how people communicated back then. People possessed a certain eloquence during that era. Getting dressed up to the nines just to go to the Garden was quite the norm – it was akin to attending the opera.”
“I recall an instance where our prop master halted one of my shots. Amid recreating the Garden and managing thousands of extras, he had sprinted into the crowd to replace a modern wristwatch on one man with a period-piece watch. That truly encapsulated the spirit of our work.”
The film covers all the anticipated aspects, including flashbacks to Clifton’s early years. It emphasizes the discrimination he and other Blacks encountered both on and off the basketball court during that time. His teammates, be it from the Globetrotters or the Knicks, were always supportive.
This film also offers a cathartic experience. It leaves you with a feeling of cultural healing that is less about civil rights or racism, and more about promoting change.
— Director Martin Guigui, on “Sweetwater”
The performances are impressive, with Osborne delivering a strong lead role and Pollak, Piven, and Dreyfuss showcasing their professional reliability. In addition, solid backup performances are provided by the likes of Roberts in an unenviable bigot role, and Starr and Caviezel, who are flawlessly cast as a sportswriter.
Presenting the story of 1950 to a 2023 audience posed a significant challenge. The usage of the term “Negro” is quite startling, and the unavoidable inclusion of the “n-word” to accurately portray that era may cause discomfort among some viewers.
“The truth carries a significant amount of edge, especially in its representation of American history,” stated the director. “This wasn’t just the case in 1950’s basketball, but a reflection of the era. Nowadays, the audience is far more ready to accept this than they were in the past.”
Former NBA star, Kiki VanDeWeghe, who previously 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 big man for the ABA’s Virginia Squires, who currently manages the Los Angeles chapter of the National Basketball Retired Players Association. Their father, Ernie VanDeWeghe, a six-year player for the Knicks, was a roommate of Clifton.
“The message is wonderful,” said the ex-NBA executive. “Now, a lot more people are going to be aware.”
The basketball scenes still resonate, effectively conveying how Clifton’s style influenced Elgin Baylor’s game, which in turn stylistically inspired Connie Hawkins, Julius Erving, Magic Johnson and numerous contemporary players. It’s a seamless blend of creativity and competition.
As the end credits roll, we see black-and-white photographs of the main characters from the film interspersed with a few clips of Clifton in action. There’s also a video clip from his later life when he was working as a taxi driver in Chicago. His joy, pride, and gratitude for the chance to utilize his talents and make a living from a sport he loved are evident.
“This film also offers a cathartic experience,” said Guigui. “It’s not primarily about civil rights or racism. Instead, it fosters a sense of cultural healing and encourages change, which you’ll feel as you exit the cinema.”
The moment Clifton first steps onto the court as a Knick is imbued with added drama. Today, as moviegoers enter theaters, Guigui will get to experience that.
“He confessed, “I used to lose sleep over the fear the film would never be produced. Now, I’m losing sleep out of excitement because 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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