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.
The newly released film “Sweetwater,” which chronicles Clifton’s life, has its own compelling backstory, marked by a winding and challenging journey from initial idea and artistic concept to final production.
Martin Guigui, the director, writer and composer of the film, told NBA.com, “I always had a feeling that this story would eventually be told. I wasn’t certain that I would be the one to do it, but I felt a deep conviction. It was as if I was meant to narrate this story to the world.”
Guigui, originally from Argentina, spent his childhood in Manhattan during the 1960s. His father, Efrain, who was a conductor for the New York Philharmonic and later the Vermont Symphony Orchestra, introduced him to basketball by taking him to watch the Harlem Globetrotters play at Madison Square Garden. In time, he also became a fan of the New York Knicks, especially during the era of Walt Frazier, Willis Reed, and Earl Monroe.
“Guigui confessed, “I turned into an absolute fanatic for the game’s history. I was enamored by everything Connie Hawkins did. The game was so creative, there was something distinct about it.”
Thus, when I began participating in junior high and high school, I didn’t mesh with the system. The coaches were constantly telling me, ‘You can’t do that on my court.’ I would often wonder, ‘What is he referring to?’
When discussing Guigui’s attempts at “razzle-dazzle”, his coach from a small town in Vermont referred to it as a term that some old-fashioned characters in “Sweetwater” would mockingly use to reference “the Negro game.”
In April 1996, several years later, Guigui diverged from his path to visit a girlfriend while en route to his band’s performance in New York. During this detour, he visited the Naismith Memorial Basketball Hall of Fame. While touring the museum, he felt the absence of a part of the history of his beloved basketball team.
Clifton, the first African-American star recruited and signed to an NBA contract, made no discoveries. Alongside Boston’s Chuck Cooper and Washington’s Earl Lloyd during the 1950-51 season, Clifton helped racially integrate professional basketball. This trio accomplished this significant feat with less recognition and long-term acclaim than what Jackie Robinson had experienced three years prior in baseball.
Watch the official trailer for ‘Sweetwater,’ set to open on April 14.
Tim Moore, a producer for Clint Eastwood’s Malpaso Productions and the person who accepted the project, said to NBA.com: “The distinctive aspect of this one is that even when asking sports fans ‘Who was the first African-American to play in the NBA?’ they can’t answer. In those days, the college game and the NIT were more significant. The NBA was exclusively 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 on Tuesday evening was bustling with the cast, crew, and guests who filled the studio’s theater for the premiere. They were there not just for a movie, but for a christening. However, unlike a typical nine-month gestation, this project’s birth spanned decades.
Nat ‘Sweetwater’ Clifton forever altered the way basketball is played, as he was the first African American to sign a contract with the NBA, thereby making history.
Guigui’s commitment to making film never wavered
Clifton was 28 years old when he broke 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 New York Rens and the Harlem Globetrotters. He also did some summer work as a first baseman for the Chicago American Giants in the Negro League of baseball.
A span of 28 years elapsed between Guigui’s visit to the Hall of Fame and the nationwide release of the director’s “passion project.”
It may appear appropriate, akin to bookends or something similar, if not for the years of effort and exasperation. Guigui spent some time investigating the story of Clifton for a book proposal. Subsequently, he contemplated it as a potential documentary a couple of times. He also played a role in nominating and advocating for Clifton’s induction into the Naismith Hall in 2014.
Martin’s unwavering dedication and fervor in creating this film were evident. Because of the importance of this story and its implications for not just the NBA, but the wider society, we were more than ready to offer our complete support.
— NBA Commissioner Adam Silver
Meanwhile, he made his living and carved out a career in filmmaking and music in Los Angeles, collaborating with renowned figures such as 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 awards, and during his free time, brought his unique flair as a player to the legendary L.A. Entertainment League.
Despite this, there’s still no “Sweetwater”. If this seems somewhat familiar, it’s because I wrote about this project for NBA.com back 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’s retirement, is now considered a friend by Guigui. Without Silver’s support, the film might have remained in production for a longer period. Despite being a New Yorker and a Knicks fan, 60-year-old Silver confessed that he had little knowledge of the stories of Clifton, Cooper, and Lloyd for many years.
Silver stated to NBA.com, “Martin’s dedication and enthusiasm in creating this film has remained unshakeable. We were completely ready to offer our utmost support, given the importance of this narrative and its implications not just for the NBA, but also for our wider society.”
Guigui presented the script once more to different producers, including Moore, in the autumn of 2019. However, the onslaught of COVID-19 and the ensuing lockdowns brought the film industry, among many others, to a standstill.
Guigui recounted, “Adam had once suggested, ‘This would likely be a suitable time to remove that from your drawer and attempt to get that movie produced.’ I responded, ‘I’m trying.’ Later, in the fall of 2021, I received a call from Tim. He proposed, ‘We’re beginning to explore things. Why don’t you come in and we’ll discuss it?'”
As the lights of Hollywood started shining again, Moore found a gap in his timetable. According to the producer, “He claimed it was all set.” He continued, “I’m a huge basketball enthusiast and have always dreamed of making a basketball film. I wasn’t familiar with Sweetwater, but I was drawn to the script.”
Moore, known for his work on Eastwood films including “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 already secured a rebate from California to support the in-state production of the movie. 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 remarked, ‘It’s quite rare to be able to film an independent movie on a major lot. We managed to give it a studio-like feel. However, there were constraints. We couldn’t afford to spend tens of millions of dollars to replicate Madison Square Garden. Thus, we had to be inventive. We secured the first three rows for our ‘Madison Square Garden’ on this stage, and the rest were visual effects.”
Following that, since it was a period piece, the focus was on the aesthetic. That’s why we chose to film at Disney Ranch, to evoke a sense of isolation. We even shot a scene in an authentic barn, featuring the Globetrotters playing there, as that was a common occurrence during that time period.
Guigui stated, “This was a hybrid. It perfectly balanced the passion infused in an independent production with the efficiency of the studio machine.”
Throughout the process of rewriting the script approximately 60 times, Guigui had begun to propose roles and visualize his cast. In 2010, he had suggested actors like 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 actors such as Richard Dreyfuss, Louis Gossett Jr., Mira Sorvino, and Burt Young were also considered for this 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 how privileged he felt to portray Joe Lapchick, a key figure in Sweetwater’s barrier-breaking journey. He described Lapchick as someone deeply passionate, who recognized a man deserving of an NBA career. Piven said he truly resonated with this.
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 and Harris is 53, making them too old for Guigui’s requirements. He was faced with the common casting dilemma in sports films: Should he choose an actor with the potential to handle the basketball scenes, or a basketball player with acting skills?
Casting for leading role was a slam dunk
Before embarking on an acting career, Everett Osborne was a Division I basketball player 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 comes as no surprise: Osborne had a background in NCAA Division I basketball, having played at the University of Texas-Rio Grande Valley in the Western Athletic Conference. Upon his graduation in 2016, he spent several seasons playing professionally in Australia before returning to his hometown of Los Angeles to pursue his dream of becoming an actor. He secured roles on BET’s “Tyler Perry’s Sistas” and NBC’s “Chicago Fire”.
As Guigui soon learned, both boxes were checked.
“The director recalled the frantic search to identify who would play Sweetwater. This intense task involved going through hundreds of submissions with the casting team. The submissions included not only actors and musicians, but also retired and current NBA players,” he said.
On this particular tape, a man named Everett had recorded himself playing basketball in what appeared to be an old-fashioned gym. His attire was reminiscent of vintage basketball uniforms. The way he played was strikingly similar to the style of Sweetwater Clifton – the high dribbling, exaggerated strides, airborne leaps, and one-handed dunks. I was impressed, thinking, ‘This man has really studied his game.’ His haircut even matched the look.
Osborne stated, “I was filmed by my uncle at a basketball court, wearing ‘Chuck Taylors’ sneakers and small shorts, executing various moves. I was running up and down the court, dribbling three or four times, making cuts, and dunking the ball. I insisted on not using any doubles; I wanted them to capture every aspect of me being Sweetwater.”
The 29-year-old not only taped a dramatic reading that held equal importance, but also displayed a level of authenticity reminiscent of a “young Sidney Poitier,” according to Guigui. “He had the vernacular, the tone of his voice,” Guigui added, emphasizing that Osborne’s 6-foot-4 stature would require no height adjustments. “Furthermore, his basketball playing style was as if guardian angels had delivered him on a platter.”
During his childhood, Osborne’s grandfather would take him to Staples Center to watch Kobe, Shaq, and the Lakers’ three-peat. Last year, he was at that very house when he received the call informing him that he’d been chosen for Sweetwater.
“Kobe hitting a game-winner; it was a full circle moment,” said Osborne.
In the film, Piven, portraying Lapchick, attempts to persuade Clifton to join the Knicks, resulting in a moment that raises goosebumps. When Clifton dismisses the idea, citing the NBA’s exclusively white line-ups, Piven’s character earnestly reassures him, saying, “It’s not going to be like that forever.”
“Everett’s talent allowed us to film all the basketball scenes in one take,” stated Piven, renowned for his lead role in “Entourage” and numerous other characters. “We shot those sequences live, with me coaching off-camera, and just let the scene play out. He’s an undeniable prodigy and this is his breakout moment.”
Portis from the Bucks said, “He’s destined to become a significant actor. Just as it takes one playoff series to launch a basketball career, it only takes one movie to kickstart an acting career.”
All-Star cast delivers authentic performances
In the upcoming film “Sweetwater,” set to debut on April 14, a scene is enacted by Richard Dreyfuss (on the left), Cary Elwes, and Everett Osborne. (Photo credit to Tony Rivetti Jr.)
Guigui said that the unexpected approval of the production caught most of the cast and crew off guard.
“When I informed them we were going ahead with the movie, Dreyfuss was particularly skeptical. He questioned, ‘Are you certain?’ I affirmed my decision, but he responded, ‘Sure. Sure, you’re certain.’ His disbelief persisted until the week preceding the shoot. I got in touch with him and told him, ‘Richard, your filming starts this Monday. I need you on set in five days.’ To verify my honesty, he handed the phone to his wife.”
Some had been involved with “Sweetwater” since its inception, while others had joined more recently. The majority were keen to bring the project to completion, with the assistance of Warner Bros. resources facilitating the process.
“Everyone on set was incredibly precise and intensely concentrated on authenticity, which made it feel like magic,” said Guigui. “We were all committed to truthfully and accurately recreating the way people spoke, both visually and aesthetically, even down to the grammar. There was a certain eloquence prevalent during that time. It was as if people were attending an opera when they went to the Garden, dressed to the nines.”
I recall the time during our production with thousands of extras and a recreation of the Garden. Our prop master halted one of my shots. He had spotted a man in the crowd wearing a modern wristwatch. He rushed out, replaced the man’s watch with a period-piece, and then allowed us to continue. This incident truly embodied the spirit of our production.
The film covers all the anticipated aspects, including flashbacks to Clifton’s younger years, and emphasizes the discrimination he and other Blacks encountered during that time, 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 feeling of cultural restoration as you leave. While it doesn’t focus heavily on civil rights or racism, it promotes the idea of change.
— Director Martin Guigui, on “Sweetwater”
The performances are impressive, with Osborne leading the cast strongly and Pollak, Piven, and Dreyfuss proving reliable as 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 of the difficulties in narrating the 1950 story for a 2023 audience was its presentation. The term “Negro” is already quite shocking, and the unavoidable use of the “n-word” to accurately depict that era could make some viewers uncomfortable.
“The truth is quite edgy, particularly in its reflection of American history,” stated the director. “This wasn’t unique to 1950s basketball, it was a representation of that era. Today’s audience is far better equipped to grasp it than audiences of yesteryears.”
Former NBA star, Kiki VanDeWeghe, who served as the executive VP of basketball operations for the league 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 big man who currently manages the National Basketball Retired Players Association’s Los Angeles chapter. Their father, Ernie VanDeWeghe, a six-year player for the Knicks, was a roommate of Clifton.
“The message is wonderful,” said the former NBA executive. “Now, a lot more people will be aware of it.”
The basketball scenes remain credible, conveying a genuine feeling that Clifton’s style of play was a precursor to Elgin Baylor’s, which in turn influenced the styles of Connie Hawkins, Julius Erving, Magic Johnson and numerous contemporary players. Creativity and competition blended together.
The end credits roll with black-and-white images of the main characters from the film, interspersed with snippets of Clifton in action. A video clip from later in his life, when he was a taxi driver in Chicago, is also shown. Clifton radiates happiness, pride, and gratitude for having had the chance to utilize his skills and make a living from a sport he adored.
“Watching this movie is also a cathartic experience,” said Guigui. “You feel a certain cultural healing when you leave after watching this film. It’s less about civil rights or racism and more about promoting change.”
The moment Clifton first steps onto the court as a Knicks player is heightened for added drama. As moviegoers enter theaters today, Guigui will have the opportunity to experience that.
“He said, ‘There was a period when I couldn’t sleep, consumed by the fear that the film would never be produced. Now, my sleeplessness is due to the sheer excitement that it actually got 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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