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.
But it’s also the origin story of “Sweetwater,” the fresh off the reel movie about Clifton’s life that had its own winding and rough journey from initial inspiration and creative concept to final production.
Martin Guigui, the director, writer, and composer of the film, revealed to NBA.com, “I always sensed that this story would eventually be shared. I wasn’t certain that I’d be the one chosen to tell it, but I felt it was my mission. I felt compelled to somehow bring this story to the world’s attention.”
Guigui, originally from Argentina, spent his childhood years in Manhattan during the 1960s. His father, Efrain, who was the conductor of the New York Philharmonic and subsequently the Vermont Symphony Orchestra, introduced him to the Harlem Globetrotters by taking him to their games at Madison Square Garden. Over time, Guigui also became a fan of the New York Knicks, particularly admiring the trio of Walt Frazier, Willis Reed, and Earl Monroe.
“Guigui confessed, “I turned into an absolute zealot for the game’s history. I admired all of Connie Hawkins’ work. There was something unique and creative about the game.”
Thus, when I began playing during junior high and high school, I didn’t conform to the system. The coaches consistently told me, ‘You can’t do that on my court.’ I would wonder, ‘What is he referring to?’
Guigui’s coach, from a small town in Vermont, referred to his attempts at “razzle-dazzle,” a phrase that some old-fashioned characters in “Sweetwater” would use with a sneer to describe what they called “the Negro game.”
In April 1996, several years later, Guigui made a detour to visit a girlfriend when he was on his way to one of his band’s shows in New York. During his journey, he visited the Naismith Memorial Basketball Hall of Fame. While exploring the museum, he noticed the absence of a significant part of his favorite team’s history.
Clifton, the first African-American star to be signed to an NBA contract, had no notable records. Along with Chuck Cooper from Boston and Earl Lloyd from Washington, Clifton helped integrate professional basketball in the 1950-51 season. They did this with much less attention and recognition than Jackie Robinson received for integrating baseball three years prior.
Watch the official trailer for ‘Sweetwater,’ opening on April 14.
Tim Moore, a producer at Clint Eastwood’s production company, Malpaso Productions, and the man who ultimately took on this project, shared with NBA.com: “The interesting aspect of this story is that even avid sports fans may not know who the first African-American NBA player was. Back in those days, college basketball and the NIT had a much larger following than the NBA, which was primarily based on the East Coast, with no teams west of the Mississippi.”
Our tagline is: “Sweetwater – the man who changed the game.”
On Tuesday evening, the Warner Bros. lot saw the cast, crew, and guests fill the studio’s theater for the premiere. Their gathering was akin to a christening as much as it was a movie premiere. Although, unlike the usual nine months, the birth of this project spanned over decades.
Nat ‘Sweetwater’ Clifton made history by becoming the first African American to sign a contract with the NBA, revolutionizing 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, 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 played as a first baseman for the Chicago American Giants in the Negro League.
A 28-year gap stretched from Guigui’s visit to the Hall of Fame to the nationwide release of the director’s “passion project.”
It might appear appropriate, akin to bookends or the like, if it weren’t for the years of labor and aggravation. Guigui spent some time investigating the story for a potential book about Clifton. Later, he considered turning it into a documentary a few times. He assisted in nominating and advocating for Clifton’s 2014 induction into the Naismith Hall.
Martin’s dedication and enthusiasm towards the creation of this film has remained unwavering. We were fully prepared to lend our complete support due to the importance of this story and its implications, not just for the NBA, but for our society at large.
— NBA Commissioner Adam Silver
Meanwhile, he made a living in Los Angeles as a filmmaker and musician, collaborating with notable 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 accolades, and even spent his leisure time showcasing his impressive talent in the renowned L.A. Entertainment League.
Despite this, there is still no “Sweetwater.” You might find this vaguely familiar if you’ve been following along – I first covered this project for NBA.com back in January 2010, which is nearly half of its lifespan 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.’”
Now serving as the league’s commissioner since his promotion in 2014 upon David Stern’s retirement, Silver is considered a friend by Guigui. Without Silver’s support, Guigui believes the film might have remained in production limbo. Despite being a New Yorker and a Knicks fan, Silver, 60, confessed that he had little knowledge of the stories of Clifton, Cooper, and Lloyd for many years.
Silver told NBA.com, “Martin has consistently shown unwavering commitment and passion towards making this film. We enthusiastically offered our complete support because of the story’s significance, not only for the NBA but for the wider society as well.”
Guigui presented the script again to several producers, including Moore, in the autumn of 2019. However, the COVID-19 pandemic struck, leading to lockdowns that halted the film industry, among many others.
Guigui recalled, “Adam once suggested, ‘This might be a good time to remove that from your drawer. Try to get that movie produced.’ I replied, ‘I’m making an attempt.’ Later, in fall 2021, I received a call from Tim. He suggested, ‘We’re beginning to explore things. Why not come in and we can discuss it?'”
As the lights of Hollywood started to shine again, Moore found a window in his timetable. “He claimed that everything was set,” the producer stated. “I’m a massive basketball enthusiast and have always aspired to create a basketball film. I wasn’t very familiar with Sweetwater, but the script appealed to me.”
Moore, known for his collaborations with Eastwood on films like “Gran Torino,” “Million Dollar Baby,” “American Sniper” and “Jersey Boys,” secured additional funding from investors, increasing the budget from $5 million to $8 million. Guigui had already managed to secure a California rebate to support in-state movie production. With Moore leveraging some of his contacts, they managed to shoot directly at Warner Bros.
During the filming of “Sweetwater,” a scene is directed by Martin Guigui.
“He pointed out that it’s uncommon to shoot an independent film on a major lot. “We managed to give it a studio feel, albeit within certain constraints. We weren’t in a position to splurge tens of millions to reproduce 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,” he said.
Subsequently, as it was a period piece, the focus was on its appearance. Hence, we decided to shoot at Disney Ranch to create an isolated atmosphere. We filmed a scene in an authentic barn featuring the Globetrotters, as it was something they used to do in that era.
Guigui stated, “This was a hybrid. It perfectly balanced the passion inherent in independent production with the efficiency of the studio system.”
As Guigui revised the script around 60 times, he gradually formed a vision for his cast and offered roles over time. In 2010, potential cast members included James Caan envisioned as 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 the then-undefined 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, “Portraying Joe Lapchick, a key figure in Sweetwater’s breaking of the barrier, was a privilege. He was incredibly passionate and recognized a man who deserved to play 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, now 52, and Harris, 53, were too old for Guigui’s requirements. He needed a younger cast member. Additionally, he faced the unique casting dilemma common in sports films: Should he opt for an actor with the potential to manage the basketball scenes, or should he seek out a player with sufficient 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 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.”
Osborne’s career trajectory is hardly surprising. He was an NCAA Division I basketball player at the University of Texas-Rio Grande Valley, competing in the Western Athletic Conference. After completing his degree in 2016, he spent a few seasons playing professional basketball in Australia. He then returned to his hometown of Los Angeles to pursue his dream of becoming an actor. He has appeared on such shows as BET’s “Tyler Perry’s Sistas” and NBC’s “Chicago Fire.”
As Guigui soon learned, both boxes were checked.
“The director reminisced about the frantic search to decide who would portray Sweetwater. This task involved screening hundreds of applications with the casting team, which included retired and active NBA players, along with actors and musicians,” he explained.
This single tape featured a man named Everett, recording himself playing basketball in what appeared to be an old-fashioned gym. He was wearing a retro-styled uniform and his gameplay reminded me of Sweetwater Clifton – the high dribble, long strides, jumping high, and one-handed dunks. I was impressed, thinking to myself, ‘This guy has really studied his stuff.’ His appearance, right down to his haircut, completed the look.
Osborne stated, “I accompanied my uncle to a basketball court where he captured me on film wearing ‘Chuck Taylors’ sneakers and small shorts, performing various moves. I was dribbling up and down the court in three or four dribbles, making cuts and dunking the ball. I insisted on not using any doubles, I wanted them to capture every moment of me being Sweetwater.”
The 29-year-old also recorded a dramatic reading that held equal significance. “Osborne had the authenticity, the vernacular, the tone of his voice,” Guigui explained, comparing his demeanor to that of a “young Sidney Poitier.” He added, “Furthermore, he’s 6-foot-4, so there was no need to fabricate his height. And his basketball playing style was so perfect, it felt as if he were handed to us on a platter by guardian angels.”
As a child, Osborne’s grandfather would take him to Staples Center to watch Kobe, Shaq and the three-peat Lakers. Last year, he was at that same house when he received the call informing him that he would be Sweetwater.
Osborne stated, “It was a moment that came full circle, with Kobe hitting a game-winner.”
In the film, Piven, portraying Lapchick, attempts to persuade Clifton to join the Knicks, a scene that gives him goosebumps. Clifton dismisses the idea, citing the NBA’s exclusively white teams. Piven responds with conviction, “It’s not going to be like that forever.”
“Everett’s talent allowed us to shoot all the basketball scenes in a single take,” said Piven, known for his lead role in “Entourage” and numerous other characters. “We performed those sequences in real time with me coaching in the backdrop, just letting it flow. He’s a true superstar and this is his breakout moment.”
Portis from the Bucks said, “He’s destined to be a renowned actor. Just as one playoff series can launch your basketball career, a single movie can kickstart your acting career.”
All-Star cast delivers authentic performances
In “Sweetwater,” set to debut on April 14, a scene is acted out by Richard Dreyfuss (left), Cary Elwes, and Everett Osborne. (Photo credit: Tony Rivetti Jr.)
Guigui said that most of the cast and crew were taken by surprise by the sudden approval of the production.
“When I informed these gentlemen that we were proceeding with the film, Dreyfuss was particularly skeptical. He asked me if I was certain, to which I confirmed. Even so, he remained doubtful until the week before filming. I contacted him again and informed him that filming would begin on Monday and that I required his presence on set within five days. To confirm my authenticity, 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 guide the project to completion, aided by the resources provided by Warner Bros.
Guigui expressed, “The atmosphere on set was enchanting, due to everyone’s meticulous attention to authenticity.” He continued, “Both the visual and aesthetic replication of the way people spoke was prioritized, along with truth and accuracy. There was a certain eloquence during that era. People would dress extravagantly to visit the Garden, akin to attending an opera.”
“I recall a time when our prop master interrupted one of my shots during a scene that involved thousands of extras and the recreation of the Garden. He noticed a man in the crowd wearing a modern wristwatch, ran out to him, removed it and replaced it with a period-piece watch. That encapsulated the spirit of our efforts.”
The film covers all the anticipated aspects, including flashbacks to Clifton’s early years, and emphasizes the discrimination he and other Blacks faced during that time, both on and off the basketball court. His teammates, whether they were Globetrotters or Knicks, showed their support.
This film also delivers a cathartic experience. After watching it, there’s a sense of cultural healing that you feel, it’s not purely about civil rights or racism, but more about fostering change.
— Director Martin Guigui, on “Sweetwater”
The performances are impressive, ranging from Osborne’s lead role to the consistent professionalism of Pollak, Piven, and Dreyfuss. Solid support is also provided by Roberts, who played a thankless bigot role, and by Starr and Caviezel, who was perfectly cast as a sportswriter.
Presenting the story from 1950 to a 2023 audience posed a challenge. The use of the term “Negro” can be shocking, and the unavoidable use of the “n-word” to accurately depict that era may cause discomfort for some viewers.
“The truth possesses a significant amount of grit, especially when it mirrors American history,” said the director. “This is not exclusive to basketball in 1950, but rather a reflection of the era. The audience is now much 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 the premiere on Tuesday. He was accompanied by his brother Bruk and Rick Darnell, a former ABA Virginia Squires player who currently manages the Los Angeles chapter of the National Basketball Retired Players Association. The VanDeWeghe brothers are sons to Ernie VanDeWeghe, a six-year Knicks player, who was a roommate of Clifton.
“The message is wonderful,” said the ex-NBA executive. “Now, a lot more people are going to be aware of it.”
The basketball scenes remain relevant, creating a genuine impression 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 and competition intertwined.
In the end credits, we see black-and-white photos of the main characters depicted in the film, interspersed with clips of Clifton in action. Additionally, there’s a video clip from his later years, showing him driving a taxi in Chicago. His joy, pride, and gratitude for the chance to use his skills and make a living from a sport he loved are palpable.
“Watching this film is also a cathartic experience,” said Guigui. “When you leave the theater, there’s a feeling of cultural healing. This movie isn’t primarily focused on civil rights or racism, but rather, it promotes change.”
The added drama is palpable the moment Clifton steps on the court as a Knicks member. As moviegoers step into theaters today, Guigui gets to experience this.
“He once said, ‘I used to lose sleep, worried that the film would never be made. Now, I’m losing sleep out of sheer excitement because it was made.'”
* * *
Steve Aschburner has written about the NBA since 1980. You can e-mail him here, find his archive here and follow him on Twitter.
The views on this page do not necessarily reflect the views of the NBA, its clubs or Warner Bros. Discovery Sports.
