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 a contract with the NBA in 1950. (Photo provided 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,” a newly released biographical film about Clifton’s life, also recounts its own arduous journey from initial inspiration and creative vision to finished production.
Martin Guigui, the director, writer, and composer of the film, told NBA.com, “I always had a feeling that this story would come to light. I wasn’t certain that I’d be the one to do it, but I believed it was my mission. I felt a strong need to share this story with the world.”
Guigui, originally from Argentina, spent his childhood in Manhattan during the 1960s. His father, Efrain, who was the conductor of the New York Philharmonic before moving on to the Vermont Symphony Orchestra, took him to Madison Square Garden to watch the Harlem Globetrotters. He later introduced him to the New York Knicks, where he watched players like Walt Frazier, Willis Reed, and Earl Monroe.
“Guigui expressed, ‘I turned into an absolute fanatic for the game’s history. I admired everything Connie Hawkins did. The game was so creative, there was something unique about it.”
“So, during my time in junior high and high school, I found it hard to fit into the system. The coaches would often tell me, ‘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 being discussed by his coach in a small town in Vermont, a term which was derisively referred to as “the Negro game” by certain conventional characters in “Sweetwater.”
Several years later, in April 1996, Guigui made a diversion to visit his girlfriend while on his way to a gig for his band in New York. He made a stop at the Naismith Memorial Basketball Hall of Fame. While exploring the museum, he noticed that a part of his beloved team’s history was missing.
Clifton, the first African-American star to be signed to an NBA contract, had no notable details found about him. Alongside Boston’s Chuck Cooper and Washington’s Earl Lloyd in the 1950-51 season, Clifton played a significant role in desegregating professional basketball. This trio achieved this milestone with much less publicity or enduring recognition than Jackie Robinson had received for integrating baseball three years prior.
Watch the official trailer for ‘Sweetwater,’ set to open on April 14.
Tim Moore, who works as a producer for Clint Eastwood’s Malpaso Productions and took on this project, shared with NBA.com that it’s quite unique that even avid sports fans would struggle to answer who was the first African-American to play in the NBA. He explained that during that period, college games and the NIT had more prominence than the NBA, which was solely concentrated on 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 with cast, crew and guests who had gathered for the premiere in the studio’s theater, marking the event as much a christening as a movie debut. However, the birth of this project took decades, rather than the typical nine months.
Nat ‘Sweetwater’ Clifton forever altered the course of the game by making history as the first African American to sign an NBA contract.
Guigui’s commitment to making film never wavered
Clifton was twenty-eight years old when he helped to break the color barrier in his sport. His journey began in Chicago, moved to Xavier University in Louisiana, then led to serving as a sergeant in the U.S. Army. After his service, he played for the all-Black New York Rens and the Harlem Globetrotters. During the summers, he also worked as a first baseman for the Chicago American Giants in the Negro League.
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, akin to bookends or such, if not for the years of labor and irritation. Guigui spent some time investigating the story for a Clifton-based book proposal. On a few occasions, he considered it for a potential documentary. He also contributed to nominating and advocating for Clifton’s induction into the Naismith Hall in 2014.
Martin’s dedication and enthusiasm for creating this film have remained unwavering. We eagerly offered our complete support, recognizing the importance of this story not just to the NBA, but to our society at large.”
— NBA Commissioner Adam Silver
While making a living in Los Angeles, he crafted a career as a filmmaker and musician, collaborating with renowned figures like Faye Dunaway, Jonathan Winters, Robin Williams, Dennis Quaid, Billy Gibbons of ZZ Top, Lady Gaga, David Byrne, and many others. Alongside his professional life, he got married, started a family, and received awards. In his leisure time, he showcased his charisma as a player in the prestigious 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 is almost half the project’s 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 was promoted to the league’s commissioner in 2014 following David Stern’s retirement, is now considered a friend by Guigui. Without Silver’s support, Guigui believes the long-awaited film might have remained unmade. Even Silver, a 60-year-old New Yorker and Knicks fan, confessed that he had limited knowledge about the stories of Clifton, Cooper, and Lloyd for many years.
Silver informed NBA.com that Martin’s dedication and enthusiasm for creating this film has remained unwavering. Due to the importance of the film’s narrative and its relevance not only to the NBA but also the wider society, they were more than ready to offer their complete support.
Guigui presented the script to several producers, including Moore, in the autumn of 2019. However, the film industry, like many others, was subsequently shut down due to the outbreak of COVID-19 and the ensuing lockdowns.
Guigui recalled, “Adam suggested, ‘This would probably be a good time to take that out of your drawer. See if you can get that movie made.’ 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 discuss it?'”
As the lights of Hollywood began to glow again, Moore found a slot in his timetable. “He claimed everything was set,” the producer commented. “I’m a huge basketball enthusiast, always had a desire to make 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,” held meetings with investors, resulting in an increase in the budget from $5 million to $8 million. Guigui had already managed to secure a rebate from California to subsidize the in-state production of the movie. Thanks to Moore leveraging his connections and “calling in some favors,” they were able to conduct the shooting at Warner Bros.
During the filming of “Sweetwater,” a scene is directed by Martin Guigui.
“He said, ‘It’s quite rare to have the opportunity to film an independent movie on a major lot. We strived to give it a studio feel. However, we had constraints. It wasn’t possible for us to invest tens of millions of dollars to replicate Madison Square Garden. Thus, we had to be imaginative. We managed to secure the first three rows for our ‘Madison Square Garden’ scene on this stage, and the remaining was done through visual effects.
Subsequently, given that it was a period piece, the emphasis was on the aesthetic. This is why we chose to film at Disney Ranch, to emanate a sensation of being in the middle of nowhere. We filmed one scene in an actual barn, featuring the Globetrotters, as that was a common occurrence during that time period.
Guigui stated, “This was a hybrid. It masterfully balanced the passion inherent in an independent production with the efficiency of a studio machine.”
Throughout the years, Guigui had revised the script approximately 60 times, gradually shaping his cast and offering roles. In 2010, the potential cast included James Caan playing Knicks owner Ned Irish, Bruce McGill as NBA head 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 prominent names such as Richard Dreyfuss, Louis Gossett Jr., Mira Sorvino, and Burt Young were also considered for the yet-to-be-decided 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 told NBA.com, “It was a gift to be able to portray Joe Lapchick, who played a crucial role in Sweetwater breaking that barrier. He was incredibly passionate and recognized a man who deserved to play in the NBA. I deeply connected 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, making them older than what Guigui was looking for. The unique casting challenge with sports films presented itself: Should they choose an actor in the hopes they could handle the basketball scenes, or opt for a player who could potentially act convincingly?
Casting for leading role was a slam dunk
Before embarking on his 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’s not surprising that Osborne had a background in NCAA Division I basketball, having played at the University of Texas-Rio Grande Valley in the Western Athletic Conference. After completing his graduation in 2016, he went on to play professional basketball in Australia for a few seasons. Later, he returned to his hometown of Los Angeles to pursue his acting aspirations. He has since made appearances on BET’s “Tyler Perry’s Sistas” and NBC’s “Chicago Fire”.
Guigui soon learned that both boxes were checked.
“The task of finding who would play Sweetwater was indeed a frantic one,” the director reminisced about the process of going through hundreds of applications with the casting team. These submissions included entries from retired and current NBA players, actors, and musical artists.
In this particular tape, a man named Everett had recorded himself playing basketball in an unoccupied gym that had a vintage feel to it. He was attired in a retro-style uniform, and his playing style mirrored that of Sweetwater Clifton – the high dribble, the expansive steps, the airborne leaps, and the one-handed dunks. I found myself thinking, ‘This guy has really done his research.’ His look, right down to his haircut, was spot on.
Osborne stated, “I accompanied my uncle to a basketball court where he recorded me playing in ‘Chuck Taylors’ sneakers and short shorts, performing a variety of basketball 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 stand-ins, I wanted them to capture every bit of my identity as Sweetwater.”
The 29-year-old also recorded a dramatic reading that held equal significance. “Osborne had the genuineness, the language, the tone of his voice,” Guigui remarked, likening his demeanor to a “young Sidney Poitier.” He further added, “He’s also 6-foot-4, so we didn’t need to manipulate his height. His basketball playing style was so natural, it felt as if he was served to us on a platter by guardian angels.”
Osborne’s grandfather used to take him to Staples Center to watch Kobe, Shaq, and the three-peat Lakers during his childhood. Last year, he was at the same house when he received the call informing him that he would be Sweetwater.
“Kobe hitting a game-winner brought it full circle,” said Osborne.
In the film, Piven, playing the role of Lapchick, has a moment that gives one goosebumps as he tries to persuade Clifton to join the Knicks. The player dismisses the offer, pointing out the NBA’s exclusively white teams. Piven responds assertively, “That’s not going to be the case forever.”
“Everett’s talent enabled us to complete all the basketball scenes in a single take,” said Piven, known for his leading role in “Entourage” and countless other parts. “We’re acting out those sequences in real time, with me coaching in the background, just letting it happen. He’s a genuine superstar, and this is his big debut.”
Portis from the Bucks said, “He’s destined to be a top-notch actor. Just as one playoff series can launch a basketball career, a single movie can kick-start an acting career.”
All-Star cast delivers authentic performances
In the upcoming film “Sweetwater,” set to premiere on April 14, actors Richard Dreyfuss (on the left), Cary Elwes, and Everett Osborne are seen acting out a scene. (Photo credit: Tony Rivetti Jr.)
Guigui said that the abrupt approval of the production caught most of the cast and crew off guard.
I rang these gentlemen and announced, ‘We’re proceeding with the film production,’ to which Dreyfuss, in particular, expressed doubt by asking, ‘Are you certain?’ I affirmed my certainty, but he remained skeptical, only really believing it the week before we began shooting. I had to reassure him again, ‘Richard, your filming begins on Monday. You must be on set in five days.’ To verify my honesty, he handed the phone to his wife.
Some individuals had supported “Sweetwater” from its inception, while others had recently joined. Most were enthusiastic about guiding the project to completion, aided by the resources provided by Warner Bros.
“Being on set was enchanting because everyone was firmly committed to achieving authenticity,” stated Guigui. “The focus was not only on the visual aspect but also on the accurate reproduction of the way people spoke, in terms of aesthetics and grammar. There was a certain eloquence during that time. It was as if people were attending an opera when they visited the Garden – they were always dressed to the nines.”
I recall how our prop master, immersed in the spirit of authenticity, once interrupted one of my shots. With thousands of extras around and while recreating the Garden, he dashed out into the crowd to swap a man’s modern wristwatch with a period-appropriate piece.
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, both on and off the court. His teammates, whether from the Globetrotters or Knicks, were supportive.
This film also offers a cathartic experience. It provides a sort of cultural healing sensation as you leave the theater, not primarily focusing on civil rights or racism, but rather promoting change.
— Director Martin Guigui, on “Sweetwater”
The performances are powerful, with Osborne in the lead role, and Pollak, Piven, and Dreyfuss providing consistent professional work. Solid supporting roles are provided by Roberts, who excellently portrays a thankless bigot, Starr, and Caviezel, who is, naturally, perfectly cast as a sportswriter.
Presenting the story of 1950 to a 2023 audience posed a challenge. The word “Negro” is likely to shock some, and the necessary inclusion of the “n-word” to accurately depict the past might make some viewers cringe.
“The truth has a lot of sharpness, particularly in how it mirrors American history,” said the director. “This wasn’t unique to basketball in 1950, this is how the era was. Nowadays, the audience is more ready to accept it 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, 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 Los Angeles chapter of the National Basketball Retired Players Association. Their father, Ernie VanDeWeghe, a six-year player for the Knicks, used to share a room with Clifton.
“The message is wonderful,” said the ex-NBA executive. “Now, many more people will be aware of it.”
The basketball scenes remain impactful, 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. It was a fusion of creativity and competition.
As the end credits roll, we see black-and-white images of the main characters depicted in the film, interspersed with a few clips of Clifton in action. A video clip from later in his life, showing him driving a taxi in Chicago, is also included. Clifton radiates joy, pride, and gratitude for being able to utilize his skills and make a living from a sport he adored.
“Watching this film is also a cathartic experience,” stated Guigui. “The sense of cultural healing you receive when you leave after watching this film is more about promoting change, rather than focusing solely on civil rights or racism.”
The moment Clifton first steps onto the court as a Knicks player is dramatized for added effect. Moviegoers stepping into theaters today will allow Guigui to experience this.
“He once stated, “There was a period when the fear of the film never being produced robbed me of sleep. Now, my sleeplessness is due to the exhilaration that it was indeed produced.”
* * *
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.
