28 years in the making, 'Sweetwater' premieres in theaters
In ‘Sweetwater,’ Everett Osborne stars as Nathaniel ‘Sweetwater’ Clifton, who was the first African American to sign an NBA contract in 1950. (Photo by 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 backstory of “Sweetwater,” the newly released film about Clifton’s life, also chronicles its challenging journey from creative inception to finished product.
Martin Guigui, the director, writer, and composer of the film, told NBA.com, “I always had the sense that this story would be narrated. I wasn’t confident I would be the one chosen, but I felt it was my responsibility. I was compelled to somehow share this story with the world.”
Guigui, originally from Argentina, was raised in Manhattan during the 1960s. His father, Efrain, led the New York Philharmonic and later the Vermont Symphony Orchestra. Efrain took him to see the Harlem Globetrotters play at Madison Square Garden. In later years, they watched the New York Knicks featuring stars such as Walt Frazier, Willis Reed, and Earl Monroe.
“Guigui confessed, “I developed an intense passion for the history of the game. I admired everything Connie Hawkins did. The game had a creative aspect to it, something that set it apart.”
Thus, when I began playing during my junior high and high school years, I struggled to adapt to the system. Coaches would always reprimand me saying, ‘You can’t do that on my court.’ I would be left wondering, ‘What is he referring to?’
Guigui’s attempts at “razzle-dazzle” were the topic of conversation for his coach in small-town Vermont. This term was often used mockingly by some conservative figures in “Sweetwater” to describe “the Negro game.”
In April 1996, several years later, Guigui made a pit stop to visit his girlfriend en route to one of his band’s performances in New York. He also visited the Naismith Memorial Basketball Hall of Fame. While touring the museum, he sensed the absence of a significant part of his favorite team’s history.
Clifton, the first African-American star recruited and signed to an NBA contract, had nothing to be found. Alongside Boston’s Chuck Cooper and Washington’s Earl Lloyd, Clifton broke racial barriers in professional basketball in the 1950-51 season. This trio accomplished what Jackie Robinson had done for baseball three years prior, but with much less recognition and lasting acclaim.
Watch the official trailer for ‘Sweetwater,’ set to open on April 14.
Tim Moore, a producer for Clint Eastwood’s Malpaso Productions who ultimately accepted the project, shared with NBA.com, “This one is unique. Even if you ask sports enthusiasts, ‘Who was the first African-American to play in the NBA?’ they likely won’t be able to provide an answer. In that era, college basketball and the NIT were more prominent. 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.”
The cast, crew, and guests who assembled at the Warner Bros. lot on Tuesday evening for the premiere were present not only for a movie, but also for a christening. However, unlike a typical gestation period of nine months, this project had taken decades to come to fruition.
Nat ‘Sweetwater’ Clifton made history as the first African American to sign an NBA contract, permanently transforming the way the game is played.
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, and serving as a sergeant in the U.S. Army. He played for the all-Black New York Rens and the Harlem Globetrotters, and during the summer, he also worked as a first baseman for the Chicago American Giants in the Negro League.
There was a 28-year gap from Guigui’s visit to the Hall of Fame to the nationwide release of the director’s “passion project.”
It might seem appropriate, similar to book ends or such, if not for the years of hard work and frustration. Guigui spent some time researching Clifton’s story for a proposed book. Later on, he considered turning it into a documentary a couple of times. He even played a role in nominating and advocating for Clifton’s induction into the Naismith Hall in 2014.
Martin’s dedication and fervor in producing this film has remained unshakeable. We were absolutely ready to offer our complete backing due to the importance of this narrative and its implications not only for the NBA, but for our wider society.
— NBA Commissioner Adam Silver
Meanwhile, he was earning his living in Los Angeles and establishing his career as a filmmaker and musician. He worked alongside renowned individuals like Faye Dunaway, Jonathan Winters, Robin Williams, Dennis Quaid, Billy Gibbons of ZZ Top, Lady Gaga, and David Byrne, amongst others. He tied the knot, started a family, bagged awards, and when he had free time, he showcased his exceptional skills as a player in the esteemed L.A. Entertainment League.
Despite this, there’s still no “Sweetwater.” If this seems somewhat recognizable, it’s because I discussed this project on NBA.com in January 2010, which was roughly 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 assumed the role of the league’s commissioner in 2014 following David Stern’s retirement, is currently considered a friend by Guigui. Guigui believes that without Silver’s support, the film might have remained in production limbo. Despite being a New Yorker and a Knicks fan, Silver, who is 60 years old, confessed that he had very little knowledge of the stories of Clifton, Cooper, and Lloyd for many years.
Silver informed NBA.com, “Martin’s dedication and enthusiasm towards the creation of this film has remained steady. We were fully prepared to offer our complete backing due to the importance of this narrative and its meaning, not only for the NBA, but for the wider society as well.”
Guigui presented the script once more to multiple producers, including Moore, in the autumn of 2019. However, the advent of COVID-19 and subsequent lockdowns, which brought the film industry and many others to a standstill, swiftly followed.
Guigui recounted, “Adam had once suggested, ‘This would probably be a good time to take that out of your drawer. See if you can get that movie made.’ To which I responded, ‘I’m trying.’ Then, in the fall of 2021, I received a call from Tim. He proposed, ‘We’re starting to look at stuff. Why don’t you come in and we’ll talk about it?'”
As the lights of Hollywood started to glow again, Moore found some free time in his busy schedule. “He confirmed that everything was set,” mentioned the producer. “I’m a huge fan of basketball and I’ve always dreamt of making a basketball movie. I wasn’t very familiar with Sweetwater, but the script caught my interest.”
Moore, known for his collaborations with Eastwood on films including “Gran Torino,” “Million Dollar Baby,” “American Sniper,” and “Jersey Boys,” increased the budget from $5 million to $8 million after meeting with investors. Guigui had already acquired a California rebate to offset the in-state production costs of the movie. Moore also utilized his connections to secure a shooting location right at Warner Bros.
During the filming of “Sweetwater,” a scene is directed by Martin Guigui.
“He expressed, “It’s rare to shoot an independent film on a major lot. We managed to give it a studio feel. However, we had limitations. We weren’t able to spend tens of millions of dollars to recreate 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.”
Following that, the focus was on aesthetics due to its period piece nature. This led us to the Disney Ranch to create a sense of isolation. We even filmed a scene in an authentic barn featuring the Globetrotters, as that was common during the time period the film is set in.
Guigui stated, “This was a hybrid. It perfectly balanced the heart intrinsic to an independent production with the efficiency of a studio machine.”
As time went by, Guigui had revised the script around 60 times, gradually assigning roles and shaping the cast. In 2010, it was suggested that actors like James Caan, portraying Knicks owner Ned Irish, Bruce McGill, taking on the role of NBA boss Maurice Podoloff, Ed Lauter as New York coach Joe Lapchick, Smokey Robinson acting as Sweetwater’s father, and Danny Devito playing Trotters impresario Abe Saperstein, could be part of the film. Other names such as Richard Dreyfuss, Louis Gossett Jr., Mira Sorvino, and Burt Young were also considered for the still-undeveloped 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 extremely passionate and someone who recognized a man worthy of playing in the NBA. Piven added that he deeply resonated with this aspect.
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.”
However, Simmons is now 52 and Harris is 53. Guigui required a younger person. Plus, he faced the unique casting dilemma that sports films often present: Should he choose an actor, hoping they can manage the basketball scenes, or should he select a player who could convincingly act?
Casting for leading role was a slam dunk
Before pursuing an acting career, Everett Osborne played Division I basketball 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.”
Osborne’s involvement in NCAA Division I basketball at the University of Texas-Rio Grande Valley in the Western Athletic Conference was no surprise. Upon graduating in 2016, he pursued a professional basketball career in Australia for two seasons. After that, he returned to his home in Los Angeles to focus on his acting ambition. He appeared on BET’s “Tyler Perry’s Sistas” and NBC’s “Chicago Fire.”
As Guigui soon learned, both boxes were checked.
“The task of finding the right person to play Sweetwater required a frantic search,” the director reminisced. “We had to go through hundreds of submissions from the casting team. These included entries from retired and active NBA players, actors, and musicians.”
In this particular tape, a man called Everett had recorded himself playing basketball in a deserted gym that had an old-fashioned feel. He was sporting a retro-style uniform, and his playing style was reminiscent of Sweetwater Clifton’s: the high dribble, wide strides, aerial jumps, and one-handed slams. It struck me – ‘This guy really knows his stuff.’ He even had the look down pat, right to his haircut.
Osborne stated, “I visited a court with my uncle who filmed me wearing ‘Chuck Taylors’ [sneakers] and small shorts, executing all types of moves. I navigated the court in three or four dribbles, making cuts and dunking the ball. I didn’t want any stunt doubles, I wanted them to utilize every aspect of me being Sweetwater.”
The 29-year-old also recorded an equally significant dramatic reading. “Osborne had the authenticity, the vernacular, the tone of his voice,” stated Guigui, highlighting that he conducted himself in a manner similar to a “young Sidney Poitier.” “Additionally, he’s 6-foot-4, so there was no need to manipulate his height. The way he played basketball seemed as if he were hand-delivered by guardian angels,” he added.
As a child, Osborne’s grandfather used to take him to the Staples Center to watch Kobe, Shaq, and the Lakers win three consecutive championships. He was at that same house last year when he received the call informing him that he was chosen to be Sweetwater.
“Kobe hitting a game-winner was a full circle moment,” said Osborne.
In the film, Piven, playing the role of Lapchick, has a spine-chilling scene where he attempts to persuade Clifton to join the Knicks. Clifton dismisses the idea, bringing up the NBA’s entirely white teams. Piven counters by leaning in and stating, “It’s not going to be like that forever.”
“Thanks to Everett’s talent, we were able to film all the basketball scenes in a single take,” Piven, famous for “Entourage” and numerous other roles, stated. “We’re running those scenes in real time, with me acting as a coach in the background, just letting it flow. He’s truly a standout performer and this is his breakout moment.”
Portis from the Bucks said, “He’s set to be a major actor. Just as it only takes one playoff series to kickstart a basketball career, it only takes one movie to launch an acting career.”
All-Star cast delivers authentic performances
In the film “Sweetwater,” set to debut on April 14, Richard Dreyfuss (on the left), Cary Elwes, and Everett Osborne are seen acting out a scene. (Photo courtesy of Tony Rivetti Jr.)
Guigui said that the abrupt approval of the production caught most of the cast and crew off guard.
“When I informed them that we’re proceeding with the film, Dreyfuss was particularly skeptical, asking me if I was certain. Despite my affirmation, he didn’t seem convinced until the week before filming started. I phoned him, telling him, ‘Richard, your shooting begins on Monday. I need you on the set in five days.’ To confirm the veracity of my statement, he put his wife on the phone.”
Some had been supporters of “Sweetwater” since its inception, while others had just recently joined the bandwagon. The majority were keen to see the project to completion, with the aid of Warner Bros.’ resources facilitating the process.
“Being on set was enchanting as everyone was particularly meticulous and highly concentrated on maintaining authenticity,” explained Guigui. “The focus was not only on visual accuracy but also on recreating the aesthetic and linguistic style of the speech of that era. There was a sophistication at that time. It was as if attending the Garden was equivalent to attending the opera, with everyone dressed to the hilt.”
“I recall a time when our prop master halted one of my shots amidst thousands of extras and the recreated Garden. He ran into the crowd, took a modern wristwatch off a man, and replaced it with a period-piece watch. That, to me, truly embodied the spirit of our endeavor.”
The film covers all the anticipated areas, with glimpses into Clifton’s early years, and it emphasizes the discrimination he and other Blacks experienced both on and off the basketball court during that time. His teammates, whether from the Globetrotters or the Knicks, showed their support.
This film also provides a cathartic experience. It imparts a sense of cultural healing as you walk away from it. It’s not merely about civil rights or racism, but more about promoting change.
— Director Martin Guigui, on “Sweetwater”
The performances are impressive, starting from Osborne in the lead role, to Pollak, Piven, and Dreyfuss who are seasoned professionals, to excellent supporting performances from actors such as Roberts, who plays an unappreciated bigot role, Starr, and Caviezel, who is ideally cast as a sportswriter.
Presenting the 1950 story to a 2023 audience posed a significant challenge. The term “Negro” may be unsettling to some, and the unavoidable inclusion of the “n-word” to accurately depict the past might cause discomfort among viewers.
“The truth has a lot of edge when it comes to reflecting American history,” stated the director. “It’s not about basketball in 1950 specifically, but about the era itself. Today’s audience is more ready to accept this than they were in the past.”
Former NBA star, Kiki VanDeWeghe, who once served as the league’s executive VP of basketball operations for eight years, attended a premiere on Tuesday. He was accompanied by his brother Bruk, and Rick Darnell, who used to play for the ABA Virginia Squires and is now in charge of the National Basketball Retired Players Association’s chapter in Los Angeles. Their father, Ernie VanDeWeghe, a former Knicks player for six years, was a roommate of Clifton.
“The message is wonderful,” said the ex-NBA executive. “Now, a lot more people will know.”
The basketball scenes remain compelling, conveying a genuine perception 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 was seamlessly intertwined with competition.
As the end credits roll, black-and-white photographs of the main characters from the film are shown, interspersed with short clips of Clifton in action. There’s also a video clip from his later years, showing him driving a taxi in Chicago. Clifton radiates joy and pride, expressing gratitude for the chance to utilise his skills and earn a livelihood in a sport he adored.
Guigui commented, “This movie also provides a cathartic experience. It’s not really about civil rights or racism. Instead, it fosters a certain cultural healing and promotes change, which you’ll sense when you finish watching the film.”
The moment Clifton first steps on the court as a Knicks player is dramatized for added effect. Guigui will get to experience this as audiences flock to cinemas today.
“He said, ‘I used to lose sleep worrying the film would never get made. Now, I’m losing sleep because I’m too thrilled that it actually did get 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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