28 years in the making, 'Sweetwater' premieres in theaters
In ‘Sweetwater’, Everett Osborne portrays Nathaniel ‘Sweetwater’ Clifton, the first African American to sign a contract with the NBA in 1950. This 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, this also serves as the backstory for “Sweetwater,” the newly launched film about Clifton’s life, which underwent its own complex and challenging journey from initial inspiration and creative vision to final production.
The director, writer and composer of the film, Martin Guigui, expressed to NBA.com, “I was always certain that this story would be shared. I wasn’t convinced that I would be the one to do it, but I believed it was my purpose. I had to find a way to relay this story to the world.”
Guigui, originally from Argentina, spent his childhood in Manhattan during the 1960s. His father, Efrain, who conducted the New York Philharmonic and later the Vermont Symphony Orchestra, would take him to Madison Square Garden to watch the Harlem Globetrotters play. As time went on, they started watching the New York Knicks games featuring Walt Frazier, Willis Reed, and Earl Monroe.
“Guigui admitted, “I turned into a complete fanatic for the game’s history. I admired everything Connie Hawkins did. The game was unique and creative, something set it apart.”
Therefore, when I began participating in junior high and high school games, I didn’t fit into the established system. Coaches would often say to me, ‘You can’t do that on my court.’ I would think to myself, ‘What is he referring to?’
His coach in the small town of Vermont discussed Guigui’s attempt at showy plays, a term that certain stern characters from “Sweetwater” would contemptuously use when referring to “the Negro game.”
In April 1996, several years later, Guigui made a side trip to visit his girlfriend while on his way to a gig in N.Y. with his band. He made a stop at the Naismith Memorial Basketball Hall of Fame during his journey. While touring the museum, he noticed the absence of a part of his favorite team’s history.
Clifton, the first African-American star to be signed for an NBA contract, had no notable information about him. Along with Chuck Cooper from Boston and Earl Lloyd from Washington, Clifton integrated professional basketball in the 1950-51 season. This trio accomplished the same feat as Jackie Robinson in baseball three years prior, albeit with less recognition and acclaim.
Watch the official trailer for ‘Sweetwater,’ set to open on April 14.
Tim Moore, a producer at Clint Eastwood’s Malpaso Productions and the person who ultimately undertook the project, spoke to NBA.com saying: “Even if you question sports fans ‘Who was the first African-American to play in the NBA?’ they probably won’t know the answer. The focus back then was more on the college game and the NIT. The NBA was entirely based 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 filled with the project’s cast, crew, and guests on Tuesday evening for the premiere. They gathered in the studio’s theater, not just to see a movie, but also to celebrate its long-awaited birth, which, unlike the typical nine months, had taken decades.
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 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. He also spent some summers working as a first baseman for the Chicago American Giants in baseball’s Negro League.
The director’s “passion project” was released nationwide 28 years after Guigui’s visit to the Hall of Fame, highlighting the time gap.
It may appear appropriate, similar to matching bookends, if not for the years of effort and exasperation. Guigui initially spent time researching Clifton’s story for a book proposal. He also considered turning it into a documentary a few times. Guigui played a significant role 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 remained unwavering. We were completely ready to fully support this, as the story’s importance extends not only to the NBA, but also has profound implications for our wider society.
— NBA Commissioner Adam Silver
Meanwhile, he made a living in Los Angeles and established a career as a filmmaker and musician. He collaborated with notable figures like Faye Dunaway, Jonathan Winters, Robin Williams, Dennis Quaid, Billy Gibbons from ZZ Top, Lady Gaga, David Byrne, and many others. He got married, started a family, won numerous awards, and even participated in the famed L.A. Entertainment League, showcasing his own unique flair as a player in his free time.
Despite this, “Sweetwater” still doesn’t exist. In case this seems somewhat recognizable, it’s because I discussed this project on NBA.com in January 2010, which was 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.’”
The league’s commissioner is now Silver, who was promoted in 2014 following David Stern’s retirement. Guigui sees him as a friend and believes that without his support, the long-awaited film might still be in limbo. Silver, 60, confessed that even as a New Yorker and a fan of the Knicks, he had minimal knowledge of the stories of Clifton, Cooper, and Lloyd for many years.
“Martin has remained unwaveringly committed and passionate about making this film,” Silver informed NBA.com. “We were completely ready to offer our total support due to the story’s significance, not just to the NBA, but to society at large.”
Guigui presented the script once more to several producers, including Moore, in the fall of 2019. However, the film industry, among many others, was brought to a halt by COVID-19 lockdowns.
Guigui recalled, “Adam suggested, ‘This would likely be a good time to bring that out of 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 come in so we can discuss it?'”
With Hollywood’s lights starting to shine again, Moore found a gap in his schedule. “He claimed everything was set,” said the producer. “I’ve always been a massive basketball enthusiast and have always wanted to make a basketball film. I wasn’t very familiar with Sweetwater, but I was drawn to the script.”
Moore, known for his work with Eastwood on films like “Gran Torino,” “Million Dollar Baby,” “American Sniper,” and “Jersey Boys,” interacted with investors and increased the budget from $5 million to $8 million. Guigui had already acquired a rebate from California to finance the in-state movie production, and with Moore leveraging his connections, they managed to film 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 isn’t a frequent occurrence. We strived to give it a studio-like ambiance. Yet, we were restricted. It wasn’t possible for us to spend multiple millions to replicate Madison Square Garden. Therefore, we had to be inventive. We managed to get the first three rows for our ‘Madison Square Garden’ on this stage, and the remainder are visual effects.”
Following this, as it was a period piece, the focus was on the aesthetic. This is why we shot at Disney Ranch, to create the impression of being in a remote location. We filmed one scene in an authentic barn, featuring the Globetrotters, as it was typical of the era.
Guigui stated, “This was a hybrid. It perfectly balanced the passion of an independent production with the efficiency of the studio machine.”
Over the years, Guigui had revamped the script around 60 times and had either offered roles to actors or had them in mind for his cast. In 2010, he had considered notable actors such as 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 proposed for the 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.
“Playing the role of Joe Lapchick, a key figure in Sweetwater’s barrier-breaking journey, was a blessing,” Piven shared with NBA.com. “Lapchick was incredibly passionate and saw worth in a man deserving of an NBA spot. 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, which was too old for Guigui’s needs. He also faced the unique casting dilemma associated with sports films. Should he choose an actor who could potentially handle the 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 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.”
It isn’t surprising that Osborne had played NCAA Division I basketball at the University of Texas-Rio Grande Valley in the Western Athletic Conference. After obtaining his degree in 2016, he had a professional basketball career in Australia for two seasons. He then came back to his hometown of Los Angeles to pursue his passion for acting. He had roles 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 determine who would portray Sweetwater, a task involving the review of hundreds of submissions with the casting team. The candidates ranged from retired and active NBA players to actors and music artists,” he said.
On this particular tape, a man named Everett had recorded himself playing basketball in a desolate gym that echoed a vintage ambiance. He was garbed in a retro-style uniform and displayed a style of play reminiscent of Sweetwater Clifton’s: high dribbles, large strides, soaring leaps, and one-handed dunks. I was impressed; clearly, this guy had done his research. Even his hairstyle added to the authenticity.
Osborne stated, “I accompanied my uncle to a court where he filmed me wearing ‘Chuck Taylors’ [sneakers] and small shorts, performing various moves. I was dribbling up and down the court in three or four moves, making cuts, and dunking the ball. I didn’t want any doubles, I wanted them to fully utilize my persona as Sweetwater.”
The 29-year-old also recorded a dramatic recitation, which was of equal significance. Guigui noted Osborne’s authenticity, vernacular, and tone, saying he had a demeanor evocative of a “young Sidney Poitier”. “Additionally, he’s 6-foot-4, so we didn’t have to fudge his height. The way he played basketball seemed as though he was handed to us on a silver platter by guardian angels,” Guigui added.
Osborne’s grandfather used to take him to Staples Center to watch Kobe, Shaq, and the three-peat Lakers when he was growing up. He was at the same house last year when he received the call informing him that he would be Sweetwater.
“Kobe hitting a game-winner was a full circle moment,” said Osborne.
In the movie, Piven, portraying Lapchick, attempts to persuade Clifton to join the Knicks, leading to a goose-bump inducing moment. Clifton dismisses his efforts, pointing out the all-white NBA rosters. Piven confidently reassures him, “It’s not going to be like that forever.”
“We could’ve completed all the basketball scenes in a single shot, all thanks to Everett’s talent,” stated Piven, renowned for his leading role in “Entourage” and numerous other characters. “We’re executing those sequences in real time with me coaching in the backdrop, and we just let it roll. He’s undoubtedly a superstar, and this is his debut party,” he added.
Portis of the Bucks said, “He’s destined to be a high-profile actor. Just as one playoff series can launch your basketball career, it only takes one successful movie to kick-start an acting career.”
All-Star cast delivers authentic performances
In “Sweetwater,” which premieres on April 14, actors Richard Dreyfuss (on the left), Cary Elwes, and Everett Osborne perform a scene. (Photo courtesy of Tony Rivetti Jr.)
Guigui said that the unexpected approval of the production surprised most of the cast and crew.
“When I informed them about the commencement of the movie, particularly Dreyfuss questioned, ‘Are you certain?’ I affirmed his query and he responded, ‘Okay. Okay, you’re certain.’ He didn’t quite trust it until a week before the shoot. I rang him again and relayed, ‘Richard, your filming begins Monday. I require your presence on set in five days.’ To verify my truthfulness, he handed the phone to his wife.”
Some had supported “Sweetwater” from its very inception, while others had become fans more recently. The majority were keen to guide the project to completion, with the aid of Warner Bros.’ resources smoothing the path.
“Being on set was enchanting, as everyone was incredibly precise and concentrated heavily on authenticity,” Guigui expressed. “There was not only a focus on visual accuracy but also on mimicking the aesthetic and grammatical nuances of people’s speech at that time. There was a certain elegance back then. It was akin to attending the opera when people dressed up extravagantly to visit the Garden.”
I recall that during the filming, with thousands of extras and a recreated Garden, our prop master halted one of my shots. He ran into the crowd, removed a modern wristwatch from a man, and replaced it with a period-appropriate watch. That encapsulated the spirit of our set.
The film covers all anticipated aspects, including flashbacks to Clifton’s early years, and emphasizes the discrimination he and other Blacks encountered both on and off the court during that time. His teammates, whether from the Globetrotters or Knicks, were always supportive.
This film also provides a cathartic experience. When you leave the theater, you feel a certain cultural healing. The movie isn’t primarily about civil rights or racism, rather it promotes the idea of change.
— Director Martin Guigui, on “Sweetwater”
The performances are impressive, with Osborne excelling in the lead role and Pollak, Piven and Dreyfuss providing reliable professionalism. Solid support is also delivered from individuals such as Roberts, who portrays a thankless bigot role, Starr, and Caviezel, who is ideally cast as a sportswriter.
The task of presenting the 1950 story to a 2023 audience posed a significant challenge. The use of the term “Negro” is sufficiently startling, and the unavoidable use of the “n-word” to accurately portray that time period will undoubtedly make some viewers recoil.
“The truth has a significant edge, especially in its representation of American history,” said the director. “This was not only specific to 1950’s basketball, but a reflection of that era. Modern audiences are much more ready to accept this now than they were years ago.”
Former NBA star, Kiki VanDeWeghe, who served as the executive VP of basketball operations for the league for eight years, went to the premiere on Tuesday. He was accompanied by his brother, Bruk, and Rick Darnell, a former ABA Virginia Squires player who now manages the Los Angeles chapter of the National Basketball Retired Players Association. Their father, Ernie VanDeWeghe, a six-year veteran of the Knicks, used to be roommates with Clifton.
“The message is wonderful,” said the ex-NBA executive. “Many more people will be aware now.”
The basketball scenes remain impressive, conveying a genuine feeling that Clifton’s style of play was the precursor to Elgin Baylor’s, which, in turn, influenced the playing styles of Connie Hawkins, Julius Erving, Magic Johnson, and numerous contemporary players. It was a fusion of creativity and competition.
As the end credits roll, we see black-and-white photographs of the main characters from the movie, along with a few snippets of Clifton in action. Additionally, there’s a video footage from his later years, showcasing him driving a taxi in Chicago. His radiating joy, pride, and gratitude for being able to utilize his skills and make a living out of a sport he was passionate about are apparent.
“Watching this movie is also a cathartic experience,” said Guigui. “It gives you a sense of cultural healing when you leave the cinema. This film isn’t focused on civil rights or racism, but rather on promoting change.”
The moment Clifton first sets foot on the court as a Knicks member is heightened for added drama. As moviegoers step into theaters today, Guigui will experience that.
“He said, “I used to lose sleep worrying that the film would never be produced. Now, I’m losing sleep due to the 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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