28 years in the making, 'Sweetwater' premieres in theaters
In ‘Sweetwater’, Everett Osborne stars as Nathaniel ‘Sweetwater’ Clifton, the first African American to sign a contract with the NBA 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.
However, this is also the backstory of “Sweetwater”, the latest film about Clifton’s life that underwent its own challenging and uneven journey from concept and artistic idea to finished production.
Martin Guigui, the director, writer, and composer of the film, expressed to NBA.com, “I was certain this story would eventually be shared. I wasn’t convinced I’d be the one to do it, but I felt it was my destiny. I felt compelled to somehow bring this story to the world’s attention.”
Guigui, originally from Argentina, spent his childhood in Manhattan during the 1960s. His father, Efrain, who was a conductor for the New York Philharmonic and later the Vermont Symphony Orchestra, used to take him to Madison Square Garden to watch the Harlem Globetrotters. In later years, they would go to see the New York Knicks, featuring players like Walt Frazier, Willis Reed, and Earl Monroe.
Guigui expressed, “I turned into a total fanatic for the game’s history. I admired everything that Connie Hawkins did. The game was unique and creative, something set it apart.”
Thus, as I began to play during my junior high and high school years, I found myself not fitting into the system. My coaches would constantly assert, ‘You cannot do that on my court.’ I would often question, ‘What is he trying to convey?’
Guigui’s small-town Vermont coach discussed his attempts at “razzle-dazzle,” a term that certain old-fashioned characters in “Sweetwater” would sarcastically use when discussing “the Negro game.”
In April 1996, several years later, Guigui made a detour to visit a girlfriend en route to a concert of his band in New York. He made a stop at the Naismith Memorial Basketball Hall of Fame during his journey. While touring the museum, he sensed the absence of a part of the history of his favorite team.
Clifton, the first African-American star to be signed to an NBA contract, had no record of any shortcomings. Alongside Boston’s Chuck Cooper and Washington’s Earl Lloyd during the 1950-51 season, Clifton helped desegregate professional basketball. Despite receiving less attention and enduring recognition, this trio accomplished a similar feat to Jackie Robinson’s integration of baseball three years prior.
Watch the official trailer for ‘Sweetwater,’ set to open on April 14.
Tim Moore, a producer from Clint Eastwood’s Malpaso Productions and the individual who eventually tackled the project, spoke to NBA.com. He said, “This project is unique because even if you ask sports enthusiasts ‘Who was the first African-American to play in the NBA?’ they wouldn’t be able to answer. At that time, college basketball and the NIT were more popular. The NBA was solely based on 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 congregated at Warner Bros. lot on Tuesday evening for the premiere in the studio’s theater were present not just for a movie, but also for a christening. However, instead of the conventional nine months, this project’s birth spanned over decades.
Nat ‘Sweetwater’ Clifton became the first African American to sign a contract with NBA, marking a pivotal change in 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 involved growing up in Chicago, attending 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 did some summer work as a first baseman for the Chicago American Giants in baseball’s Negro League.
The 28 years difference between Guigui’s visit to the Hall of Fame and the nationwide release of the director’s “passion project.”
It may appear appropriate, similar to book ends or such, if not for the years of labor and irritation. Guigui spent some time investigating the story for a potential book about Clifton. On a few occasions, he also considered turning it into a documentary. He played a role in nominating and advocating for Clifton’s induction into the Naismith Hall in 2014.
Martin’s dedication and enthusiasm for creating this film has remained steadfast. 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 for our society at large.
— NBA Commissioner Adam Silver
During this time, he made a living in Los Angeles, establishing himself as a filmmaker and musician. He collaborated with notable figures like Faye Dunaway, Jonathan Winters, Robin Williams, Dennis Quaid, Billy Gibbons of ZZ Top, Lady Gaga, David Byrne, and many others. He married, started a family, won awards, and in his spare time, showcased his unique flair as a player in the renowned L.A. Entertainment League.
Despite the lack of “Sweetwater,” this might sound vaguely familiar as I wrote about this project for NBA.com in January 2010, which was 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.’”
Silver, who was promoted to the league’s commissioner in 2014 following David Stern’s retirement, is considered by Guigui as a friend. Without Silver’s support, Guigui believes the film might have remained in limbo. Even Silver, a 60-year-old New Yorker and Knicks fan, confessed that he knew little about the stories of Clifton, Cooper, and Lloyd for many years.
“Martin’s dedication and enthusiasm towards creating this film has remained steadfast,” Silver informed NBA.com. “We were completely ready to offer our total support due to the relevance of this narrative and its implications not only for the NBA, but for our society at large.”
Guigui presented the script to several producers, including Moore, in the autumn of 2019. However, the advent of COVID-19 and subsequent lockdowns led to the shutdown of the film industry among many others.
Guigui recalled, “Adam had 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 began to shine again, Moore found a gap in his timetable. According to the producer, “He claimed it was all set. I’ve always been a huge basketball enthusiast and always dreamt of making a basketball film. I didn’t know much about 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,” convened with investors and raised the budget from $5 million to $8 million. Guigui had previously secured a California rebate, which subsidised the in-state movie production. Using Moore’s connections, they managed to secure a location at Warner Bros. for filming.
During the filming of “Sweetwater,” a scene is directed by Martin Guigui.
“He mentioned that it’s a rare opportunity to film an independent movie on a major lot. They managed to give it a studio feel, but there were restrictions. They couldn’t afford to spend millions to reproduce Madison Square Garden. Therefore, they had to be inventive. They managed to secure the first three rows for their ‘Madison Square Garden’ on this stage, and the rest was done through visual effects.
Afterwards, as it was a period piece, the focus was on the aesthetics. That’s why we chose to shoot at Disney Ranch, to imbibe a sense of isolation. We filmed a scene in an actual barn, featuring the Globetrotters, which was typical of that era.
Guigui said, “This was a hybrid. It perfectly balanced the passion inherent in independent production with the efficiency of the studio machine.”
Over the years, Guigui had revised the script approximately 60 times and had begun casting or visualizing his cast. In 2010, actors like James Caan who was considered for the role of Knicks owner Ned Irish, Bruce McGill for NBA boss Maurice Podoloff, Ed Lauter for New York coach Joe Lapchick, Smokey Robinson for Sweetwater’s father, and Danny Devito for Trotters impresario Abe Saperstein were mentioned. Other actors whose names were suggested for this yet-to-be-determined project were 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.
“Playing the role of Joe Lapchick, who was crucial in breaking Sweetwater’s barrier, was an honor,” Piven shared with NBA.com. “He was incredibly passionate and saw 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 is currently 52, while Harris is 53. Guigui required a younger actor. He also faced the typical casting dilemma associated with sports films: should he choose an actor and hope they can convincingly play basketball, or opt for a basketball player who can also act convincingly?
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’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 his graduation in 2016, he spent a few seasons playing professional basketball in Australia. Eventually, he returned to his hometown, Los Angeles, to pursue his acting dream. He managed to secure roles on BET’s “Tyler Perry’s Sistas” and NBC’s “Chicago Fire.”
As Guigui soon discovered, both boxes were checked.
“The director remembered the frantic search to determine who would portray Sweetwater, a task that involved sorting through hundreds of submissions from a diverse group that included retired and current NBA players, actors, and musicians,” alongside the casting team.
There was a single cassette where a man named Everett had recorded himself playing basketball in a desolate gym that seemed almost antique. He was clad in a retro-style uniform. His playing style mirrored that of Sweetwater Clifton: high dribbling, large strides, aerial leaps, and one-handed dunks. I thought to myself, ‘This man has certainly done his research.’ He even had the right look, including his haircut.
Osborne stated, “I accompanied my uncle to a basketball court where he filmed me wearing ‘Chuck Taylors’ sneakers and little shorts, performing a variety of moves. I was dribbling the ball up and down the court, making cuts, and dunking. I didn’t want any doubles. I wanted them to use every bit of me being Sweetwater.”
The 29-year-old also recorded a dramatic reading that held equal significance. “He possessed the authenticity, the vernacular, the tone of his voice,” Guigui commented, noting how Osborne’s demeanor echoed a “young Sidney Poitier.” Guigui added, “Moreover, he’s 6-foot-4, so there was no need to exaggerate his height. His basketball skills were so impressive, it was as if he was presented to us by guardian angels.”
As a child, Osborne’s grandfather would take him to the Staples Center to watch Kobe, Shaq, and the three-peat Lakers. He was at the same house the previous 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 film, Piven, portraying Lapchick, attempts to persuade Clifton to join the Knicks, leading to a tense moment. Clifton dismisses the proposal, referring to the NBA’s entirely white teams. Piven responds assertively, stating, “It’s not going to be like that forever.”
“Thanks to Everett’s skill, we managed to film all the basketball sequences in a single take,” stated Piven, best known for his leading role in “Entourage” and numerous other parts. “We carried out those sequences in real time, with me acting as a coach in the background, and we simply let it unfold. He’s an undeniable sensation, and this is his breakout moment.”
Bucks’ Portis stated, “He is set to become a major actor. Similar to how one playoff series can kickstart a basketball career, it only takes one movie to launch an acting career.”
All-Star cast delivers authentic performances
Richard Dreyfuss, Cary Elwes, and Everett Osborne (from left to right) perform a scene in “Sweetwater,” set to premiere on April 14. (Photo credit: Tony Rivetti Jr.)
Guigui said that the sudden approval of the production surprised most of the cast and crew.
“When I informed these gentlemen, ‘We’re proceeding with the film,’ Dreyfuss, in particular, responded with skepticism, ‘Are you certain?’ I affirmed my certainty and he sarcastically echoed, ‘Sure. Sure, you’re certain.’ His disbelief lingered until the week prior to filming. I contacted him again to say, ‘Richard, filming begins on Monday. I need you on set in five days.’ He handed the phone to his wife to corroborate my assertion.”
Some had been involved with “Sweetwater” since its inception, while others joined more recently. Most were keen to guide the project to completion, facilitated by the resources of Warner Bros.
“Being on set was enchanting as everyone was particularly precise and highly concentrated on authenticity,” expressed Guigui. “The focus was not just on truth and visual replication, but also on mimicking the aesthetics and grammar of the way people spoke back then. There was a certain elegance of those times. It was as if going to the Garden was like attending the opera, with people dressed to the nines.”
I recall that our prop master, amidst thousands of extras and a recreated Garden, interrupted one of my shots. He dashed into the crowd to replace a man’s modern wristwatch with a period-piece watch. That encapsulated the spirit of the moment.
The film covers all the anticipated aspects, including glimpses into Clifton’s early life, and emphasizes the discrimination he and other Blacks encountered during that time, both on and off the basketball court. His teammates, whether from the Globetrotters or the Knicks, were supportive.
Also, this film offers a cathartic experience. It provides a sort of cultural healing that you feel after watching it. It’s less about civil rights or racism, and more about promoting change.
— Director Martin Guigui, on “Sweetwater”
The performances are impressive, with Osborne leading the way and Pollak, Piven, and Dreyfuss providing reliable professionalism. Roberts, Starr, and Caviezel also offer solid support, with Roberts playing a thankless bigot role and Caviezel fitting perfectly into the role of a sportswriter.
Presenting the 1950 narrative to a 2023 audience posed a challenge. The term “Negro” itself is startling, and the unavoidable inclusion of the “n-word” to portray the reality of the time can cause discomfort among some viewers.
“The truth has a significant edge when it comes to reflecting American history,” said the director. “This wasn’t only applicable to basketball in 1950, but it was a representation of that era. Nowadays, the audience is more equipped to comprehend it than in the past years.”
Former NBA star Kiki VanDeWeghe, who also served as the league’s executive VP of basketball operations for eight years, attended a premiere on Tuesday. Alongside him were his brother Bruk and Rick Darnell, formerly a big man for the ABA Virginia Squires and currently overseeing the Los Angeles chapter of the National Basketball Retired Players Association. Their father, Ernie VanDeWeghe, spent six years playing with the Knicks and was roommates with Clifton.
“The message is wonderful,” said the ex-NBA executive. “Now, it’s going to reach a lot more people.”
The basketball sequences remain relevant, convincingly showing how Clifton’s playing style influenced Elgin Baylor’s, which in turn stylistically shaped Connie Hawkins, Julius Erving, Magic Johnson, and numerous contemporary players. Creativity intertwined seamlessly with competition.
As the end credits roll, we are treated to black-and-white photographs of the film’s main characters alongside a handful of clips featuring Clifton in action. A video clip from later in his life, showing him driving a taxi in Chicago, is also included. The clip radiates his joy, pride and gratitude for having been given the chance to utilize his talents and make a living doing a sport he was passionate about.
Guigui said, “This movie also provides a cathartic experience. It imparts a sense of cultural healing that you feel after watching it. It’s not entirely focused on civil rights or racism, but more about promoting change.”
The moment Clifton first steps on the court as a Knicks player is dramatized for added effect. Guigui experiences this as audiences enter theaters today.
“He once said, ‘There was a time when the fear of the film not getting made kept me awake. Now, the excitement of it being made is what’s causing my sleeplessness.'”
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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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