28 years in the making, 'Sweetwater' premieres in theaters
In ‘Sweetwater’, Everett Osborne stars as Nathaniel ‘Sweetwater’ Clifton, the first African American to sign an NBA contract in 1950. (Photo credited to 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 motion picture “Sweetwater,” which tells the story of Clifton’s life, has also experienced its own winding, challenging journey from initial inspiration and artistic concept to final production.
Martin Guigui, the director, writer, and composer of the film, said to NBA.com, “I always had the feeling that this story would be shared. I wasn’t certain I would be the one to do it, but I sensed it was my mission. I had the compelling need to relay this story to the world.”
Guigui, originally from Argentina, spent his childhood in Manhattan during the 1960s. His father, Efrain, who served as a conductor for both the New York Philharmonic and later the Vermont Symphony Orchestra, introduced him to the Harlem Globetrotters by taking him to their game at Madison Square Garden. In the subsequent years, he became a fan of the New York Knicks, featuring players like Walt Frazier, Willis Reed, and Earl Monroe.
“History of the game turned me into a total fanatic,” Guigui confessed. “I was enamored with everything Connie Hawkins did. There was a unique creativity to the game, something that set it apart.”
“So, I began playing during junior high and high school, but I didn’t mesh well with the system. The coaches would constantly say to me, ‘You can’t do that on my court.’ I always wondered, ‘What is he referring to?'”
In small-town Vermont, Guigui’s coach discussed his attempts at “razzle-dazzle,” a phrase that the more conservative characters in “Sweetwater” would disparagingly use to describe “the Negro game.”
Guigui, in April 1996, several years later, decided to visit a girlfriend on his way to one of his band’s performances in New York. During his detour, he stopped at the Naismith Memorial Basketball Hall of Fame. While exploring the museum, he felt a void, as if a piece of his favorite basketball team’s history was missing.
Clifton, the first African-American star to be recruited and signed to an NBA contract, had nothing noteworthy about him. Along with Chuck Cooper from Boston and Earl Lloyd from Washington in the 1950-51 season, Clifton played a key role in integrating professional basketball. However, their achievement received far less recognition and acclaim compared to Jackie Robinson, who had integrated baseball three years prior.
Watch the official trailer for ‘Sweetwater,’ set to open on April 14.
Tim Moore, a producer at Clint Eastwood’s Malpaso Productions and the individual who eventually undertook the project, conveyed to NBA.com that this particular story is unique. He stated that if sports enthusiasts were asked who the first African-American to participate in the NBA was, they would likely fail to provide an answer. During the time in question, college games and the NIT were more popular, while the NBA was confined to the East Coast, with no presence west of the Mississippi.
Our tagline is, “Sweetwater: The man who changed the game.”
On Tuesday evening, the Warner Bros. lot was filled by the cast, crew, and guests who gathered for the premiere at the studio’s theater. They were present for more than just a movie, it was also a christening of sorts. However, the birth of this project took not nine months, but decades.
Nat ‘Sweetwater’ Clifton forever altered the way basketball is played by making history as the first African American to sign a contract with the NBA.
Guigui’s commitment to making film never wavered
Clifton was twenty-eight years old when he helped break the color line in his sport. His journey included growing up in Chicago, studying at Xavier University in Louisiana, serving as a sergeant in the U.S. Army, and then playing for the all-Black New York Rens and the Harlem Globetrotters. He also had a stint as a first baseman for the Chicago American Giants in baseball’s Negro League during the summers.
A gap of 28 years spanned from Guigui’s visit to the Hall of Fame to the nationwide release of the director’s “passion project.”
It may appear apt, similar to book ends or such, if it weren’t for the years of toil and annoyance. Guigui initially investigated the story for a book proposal on Clifton. Afterwards, he even considered it for a potential documentary a few times. Guigui played a part in advocating for Clifton’s induction into the Naismith Hall in 2014.
Martin’s dedication and enthusiasm for creating this film has remained unwavering. We were more than ready to offer our complete backing due to the importance of this story and its implications not just for the NBA, but also for our wider society.
— NBA Commissioner Adam Silver
Meanwhile, he made a living in Los Angeles, establishing himself as a filmmaker and musician. He collaborated 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 got married, started a family, and received awards. In his leisure time, he showcased his individual flair in the esteemed L.A. Entertainment League.
Despite this, “Sweetwater” is still absent. If this seems slightly familiar, it’s probably because I discussed the project on NBA.com in January 2010, which is almost half 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.’”
Currently serving as the league’s commissioner after his promotion in 2014 following David Stern’s retirement, Silver is considered a friend by Guigui. Without Silver’s support, the long-awaited film might have still been delayed. 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 informed NBA.com, “Martin’s dedication and enthusiasm in creating this film has remained unshaken. We were eager to offer our complete support given the importance of this narrative, and its implications not just for the NBA but also for the larger society.”
Guigui re-pitched his script to several producers, including Moore, in the fall of 2019. However, the film industry, among others, was shut down due to lockdowns when COVID-19 struck.
Guigui recalled, “Adam suggested, ‘It might be a good time to remove that from your drawer and try to get that movie produced.’ I replied, ‘I’m doing my best.’ Then, in the fall of 2021, Tim contacted me. He proposed, ‘We’re beginning to review projects. Why don’t you join us and we can discuss it?'”
When Hollywood’s lights started glowing again, Moore found a window in his timetable. The producer quoted Moore as saying, “It’s all set to go.” He added, “I’m a massive basketball fan, always dreamt of making a basketball movie. 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,” raised the budget from $5 million to $8 million after meeting with investors. Guigui had already secured a California rebate to financially support the in-state production of the movie. Thanks to Moore “calling in some favors,” they managed to conduct the shooting directly 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 is not something you can do too often. We managed to give it a studio feel. However, we had constraints. We couldn’t afford to spend tens of millions of dollars to replicate Madison Square Garden. Hence, we had to be resourceful. We set up the first three rows for our ‘Madison Square Garden’ on this stage, and used visual effects for the rest.”
We decided to film at Disney Ranch afterwards, as we were creating a period piece and wanted to capture a specific aesthetic. We wanted it to feel as if it was set in the middle of nowhere. We even filmed a scene in an actual barn with the Globetrotters playing inside, as it was something they did during that time period.
Guigui stated, “This was a hybrid. It perfectly balanced the passion inherent in independent production with the efficiency of the studio machine.”
Throughout the scripting process, which involved approximately 60 revisions, Guigui had considered or offered roles to various actors. In 2010, names 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 were mentioned. Other potential cast members suggested 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.
Piven expressed to NBA.com how much of a privilege it was to portray Joe Lapchick, a crucial figure in Sweetwater’s breakthrough of a significant barrier. He described Lapchick as extremely passionate and someone who recognized a man deserving of a spot in the NBA. Piven stated he truly 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, at 52, and Harris, at 53, were deemed too old for Guigui’s requirements. He was faced with the unique casting challenge common to sports films: should he choose an actor capable of executing basketball scenes, or a player who could convincingly act?
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 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.”
It’s hardly surprising, given that Osborne had participated in NCAA Division I basketball at the University of Texas-Rio Grande Valley, competing in the Western Athletic Conference. He moved on to play professional basketball in Australia for a few seasons after his graduation in 2016. Afterwards, he returned to his hometown, Los Angeles, to pursue his dream of acting. His acting credits include appearances on BET’s “Tyler Perry’s Sistas” and NBC’s “Chicago Fire.”
Guigui soon learned that both boxes were checked.
“The director recounted the frenzied rush to discover the actor who would portray Sweetwater. The task involved going through hundreds of submissions with the casting team. These included entries from both retired and active NBA players, along with actors and musicians,” he said.
A man named Everett had recorded himself on a single tape, playing basketball in a gym that appeared to be vintage and devoid of people. His attire was reminiscent of a retro basketball uniform. His gameplay mimicked that of Sweetwater Clifton – high dribbles, large strides, airborne leaps, and one-handed dunks. I was struck by his dedication and thought, ‘This guy really did his research.’ His look, right down to his haircut, was spot on.
Osborne stated, “I accompanied my uncle to a basketball court where he filmed me. I was wearing ‘Chuck Taylors’ sneakers and small shorts, demonstrating all kinds of basketball moves. I was dribbling up and down the court, making cuts, and dunking the ball, all in three or four dribbles. I insisted on not having any doubles. I wanted them to showcase every aspect of my persona as Sweetwater.”
The 29-year-old also created an equally significant dramatic reading. “Osborne had the authenticity, vernacular, and tone in his voice,” Guigui remarked, comparing his demeanor to that of a “young Sidney Poitier.” He added, “He’s also 6-foot-4, so there was no need to exaggerate his height. His basketball skills seemed like they were handed to us on a silver platter by guardian angels.”
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, while he was at that house, he received a call informing him that he would be Sweetwater.
“Kobe hitting a game-winner brought everything full circle,” said Osborne.
In the film, Piven, portraying Lapchick, experiences a tense moment as he attempts to persuade Clifton to join the Knicks. Clifton dismisses him, alluding to the NBA’s exclusively white teams. Undeterred, Piven responds assertively, “It’s not going to be like that forever.”
“Thanks to Everett’s skill, we could have completed the basketball scenes in a single shot,” Piven, the lead actor of “Entourage” and numerous other roles, stated. “We’re enacting those sequences live, with me guiding from the sidelines, while simply letting it flow. He’s a total sensation and this is his grand debut.”
Portis from the Bucks stated, “He’s destined to become a major actor. Just as a single playoff series can launch your basketball career, it only takes one movie to kickstart your acting career.”
All-Star cast delivers authentic performances
In the movie “Sweetwater,” Richard Dreyfuss (on the left), Cary Elwes, and Everett Osborne perform a scene. The film is set to debut on April 14. (Photo courtesy of Tony Rivetti Jr.)
Guigui said that the sudden approval of the production caught most of the cast and crew off guard.
“When I informed these gentlemen about our movie-making plans, Dreyfuss was particularly skeptical. He asked, ‘Are you sure?’ I assured him and he responded in a doubtful tone, ‘Sure. Sure, you’re sure.’ He didn’t seem to fully believe it until just a week before filming began. I remember calling him and telling him, ‘Richard, you’re scheduled to start shooting on Monday. I need you on set in five days.’ He even had his wife speak with me on the phone to verify if I was being honest.”
Some had been involved with “Sweetwater” since its inception, while others had joined the project more recently. The majority were keen to guide the project to completion, facilitated by the resources provided by Warner Bros.
“Everyone on set was incredibly focused on authenticity, which created a magical atmosphere,” said Guigui. “We aimed for truth and aimed to imitate not only the visual aspect but also the aesthetic and linguistic style of the people. There was a certain elegance in that era. People used to dress to the nines to go to the Garden – it was akin to attending the opera.”
I recall our prop master interrupting one of my shots as he darted into the crowd of thousands of extras we had on the set, which was designed to replicate the Garden. He removed a modern wristwatch from a man and replaced it with one that was appropriate for the period. That action truly encapsulated the spirit of the project.
The movie hits all the anticipated marks, incorporating flashbacks from Clifton’s early life and emphasizing the discrimination he and other Blacks experienced during that time, both on and off the basketball court. His teammates, whether from the Globetrotters or the Knicks, stood by him.
Also, this film provides a cathartic experience. It imparts a sense of cultural healing as you finish watching it. It’s not just about civil rights or racism, but more about inspiring change.
— Director Martin Guigui, on “Sweetwater”
The performances are impressive, starting from Osborne as the lead, Pollak, Piven and Dreyfuss as dependable professionals, to solid supporting roles from Roberts (in a challenging bigot role), Starr and Caviezel (who is ideally cast as a sportswriter, of course).
Telling the story from 1950 posed one challenge – making it relatable to a 2023 audience. The usage of the term “Negro” is sufficiently startling, and the unavoidable use of the “n-word” to portray the reality of that era could make some viewers cringe.
“The truth holds a lot of edge, particularly in its reflection of American history,” stated the director. “This wasn’t just about basketball in 1950, it’s about the era as a whole. Today’s audience is far more ready for it than they were in the past.”
Former NBA star and previous Executive VP of Basketball Operations for the league, Kiki VanDeWeghe, attended a premiere on Tuesday. He was joined by his brother, Bruk, and Rick Darnell, a former ABA Virginia Squires player who now runs the Los Angeles chapter of the National Basketball Retired Players Association. Their father, Ernie VanDeWeghe, a six-year Knicks player, shared a room with Clifton.
“The message is wonderful,” said the former NBA executive. “Now, a lot more people are going to be aware of it.”
The basketball scenes are still relevant today, conveying the real idea that Clifton’s playing style influenced Elgin Baylor’s, which in turn stylistically inspired Connie Hawkins, Julius Erving, Magic Johnson and numerous contemporary players. Creativity intertwined with competition.
As the end credits roll, we are shown black-and-white pictures of the main characters depicted in the movie, interspersed with several clips of Clifton in action. There’s also a video snippet taken from the later years of his life when he was working as a taxi driver in Chicago. The joy, pride, and gratitude he radiates for having had the chance to utilize his talents and earn a livelihood from a sport he adored is unmistakable.
“Experiencing this movie is also cathartic,” said Guigui. “When you leave the theatre, you feel a sense of cultural healing. The film is less about civil rights or racism, and more about promoting change.”
The moment Clifton first steps on the court as a Knicks member is heightened for added drama. Guigui will experience this as audiences enter cinemas today.
“He once shared, “I used to lose sleep stressing over whether the film would ever be made. Now, I’m losing sleep from the thrill that it was indeed made.”
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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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