28 years in the making, 'Sweetwater' premieres in theaters
Everett Osborne stars as Nathaniel ‘Sweetwater’ Clifton, the first African American to sign an NBA contract in 1950, in ‘Sweetwater’. (Photo 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.
The backstory of “Sweetwater,” the newly released film about Clifton’s life, also had its own arduous journey. It traveled a winding and bumpy path from initial inspiration and creative vision to final production.
Martin Guigui, the director, writer, and composer of the film, told NBA.com, “I always sensed that this story would be shared. I wasn’t certain that I would be the one to do it, but I believed it was my destiny. I had an obligation to somehow convey 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, introduced him to the Harlem Globetrotters’ games at Madison Square Garden. Afterwards, he became a fan of the New York Knicks, captivated by the performances of Walt Frazier, Willis Reed, and Earl Monroe.
“Guigui confessed, “I turned into an absolute history buff for the game. I admired everything Connie Hawkins did. There was something distinctively creative about the game.”
“So, during my junior high and high school years when I started playing, I really didn’t mesh well with the system. The coaches would constantly tell me, ‘That’s not allowed on my court.’ It would leave me wondering, ‘What is he referring to?'”
Guigui’s coach from a small town in Vermont discussed his attempts at “razzle-dazzle,” a phrase that some old-fashioned characters in “Sweetwater” would use with a sneer to describe “the Negro game.”
In April 1996, several years later, Guigui made a side trip to visit a 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. As he roamed around the museum, he sensed a missing piece of history from his favorite team.
Clifton, the first African-American star to be signed to an NBA contract, had nothing on him. Along with Chuck Cooper from Boston and Earl Lloyd from Washington, he integrated professional basketball in the 1950-51 season. This trio did this with much less recognition and lasting praise than 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 for Clint Eastwood’s Malpaso Productions who eventually took on the project, spoke to NBA.com. He highlighted the uniqueness of the project by saying, “Even if you question sports enthusiasts about ‘Who was the first African-American to play in the NBA?’ they wouldn’t be able to answer. Back then, college games and the NIT were more popular. The NBA was solely an East Coast affair, 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 the cast, crew, and guests who congregated in the studio’s theater for the premiere. They were there not just for a movie, but also for what felt like a christening. Unlike the usual nine months, the birth of this project had spanned decades.
Nat ‘Sweetwater’ Clifton made history by becoming 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 twenty-eight years old when he helped break the color line in his sport. His journey to this point included growing up in Chicago, studying at Xavier University in Louisiana, and serving as a sergeant in the U.S. Army. He also played for the all-Black New York Rens and the Harlem Globetrotters. During the summers, he worked as a first baseman for the Chicago American Giants in baseball’s 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 might seem appropriate and symmetrical, similar to bookends, but the years of hard work and frustration cannot be ignored. Guigui spent some time delving into the details of the story for a potential book about Clifton. Later on, he even considered turning it into a documentary a few times. He also played a significant 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 unwavering. We were completely ready to offer our full backing, given the importance of this story and its implications not just for the NBA, but for society at large.
— NBA Commissioner Adam Silver
Meanwhile, he made his living in Los Angeles, establishing himself as a filmmaker and musician. He collaborated with renowned personalities such as Faye Dunaway, Jonathan Winters, Robin Williams, Dennis Quaid, Billy Gibbons of ZZ Top, Lady Gaga, David Byrne, and many others. Alongside his career, he married, raised a family, received accolades, and utilized his free time to showcase his talent in the famous L.A. Entertainment League.
Despite this, there’s still no “Sweetwater.” If this project sounds vaguely familiar, it’s because I wrote about it on NBA.com back 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.’”
Guigui considers Silver, who became the league’s commissioner in 2014 after David Stern’s retirement, a friend. Without Silver’s support, the film may have remained unproduced for a longer period. Silver, now 60, confessed that even though he is a New Yorker and a fan of the Knicks, he had limited knowledge about the stories of Clifton, Cooper, and Lloyd for many years.
“Martin’s dedication and enthusiasm for producing this film has remained steadfast,” Silver informed NBA.com. “We were completely prepared to offer our total backing due to the importance of this narrative and its implications not just for the NBA, but for the wider society as well.”
Guigui presented the script once more to various producers, including Moore, in the autumn of 2019. However, the film industry, along with numerous others, was brought to a halt due to the outbreak of COVID-19 and subsequent lockdowns.
Guigui recounted, “I recall Adam suggesting, ‘This would likely be an opportune time to remove that from your drawer. Try to get that movie produced.’ I responded, ‘I’m making efforts.’ Then, in the autumn of 2021, I received a phone call from Tim. He proposed, ‘We’re beginning to review things. Why not join us for a discussion?’”
As the lights of Hollywood began to glow again, a slot opened up in Moore’s timetable. “He claimed it was all set,” the producer stated. “I’m an enormous basketball enthusiast, and I’ve always desired to make a basketball film. Although I wasn’t well-acquainted with Sweetwater, I was drawn to the script.”
Moore, known for working with Eastwood on films such as “Gran Torino”, “Million Dollar Baby”, “American Sniper” and “Jersey Boys”, met with investors to increase the budget from $5 million to $8 million. Guigui had already secured a California rebate to subsidize the movie’s production in-state. With Moore using his connections to “call in some favors”, they managed to shoot directly at Warner Bros.
During the filming of “Sweetwater,” a scene is directed by Martin Guigui.
“He noted that it’s relatively rare to film an independent movie on a prominent lot. We aimed to give it a studio ambiance, but there were restrictions. We didn’t have the luxury of spending tens of millions of dollars to reproduce Madison Square Garden. Hence, we had to be innovative. We managed to get the first three rows for our ‘Madison Square Garden’ on this stage and we used visual effects for the rest,” he explained.
Subsequently, given that it was a period piece, the focus was on the aesthetic. This is why we chose to film at 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 that era.
Guigui stated, “This was a hybrid. It perfectly blended the passion inherent in an independent production with the efficiency of a studio machine.”
As Guigui refined the script approximately 60 times over a period, he started envisioning his cast or offering roles. In 2010, he considered actors 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. Other actors such as Richard Dreyfuss, Louis Gossett Jr., Mira Sorvino, and Burt Young were also suggested 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.
Piven expressed to NBA.com his gratitude for the opportunity to portray Joe Lapchick, a key figure in Sweetwater’s journey to break the barrier. He described Lapchick as full of passion and someone who recognized talent worthy of the NBA, a sentiment Piven strongly resonated with.
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, however, is now 52 and Harris is 53, prompting Guigui to seek someone younger. He also confronted the unique casting dilemma associated with sports films: should he opt for an actor capable of managing the basketball scenes or a player who could convincingly act?
Casting for leading role was a slam dunk
Before venturing into acting, 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 to learn that Osborne had a background in NCAA Division I basketball as he played at the University of Texas-Rio Grande Valley in the Western Athletic Conference. Following his graduation in 2016, he spent a few seasons playing professionally in Australia. Afterwards, he returned to his hometown of Los Angeles to pursue his acting dream. He has made 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 frantic rush to determine who would portray Sweetwater, a task that involved combing through hundreds of submissions from a diverse pool that included retired and current NBA players, actors, and musical artists,” alongside casting professionals.
This particular tape featured a man named Everett recording himself playing basketball in what appeared to be an old-fashioned gymnasium. He was clad in a nostalgic-style uniform, and his gameplay was reminiscent of Sweetwater Clifton’s: the elevated dribbles, the wide strides, the soaring jumps, and the one-handed slam dunks. I was amazed and thought, ‘This guy has really done his research.’ His hairstyle also added to his retro look.
Osborne stated, “I accompanied my uncle to a court where he filmed me wearing ‘Chuck Taylors’ [sneakers] and small shorts, executing various moves. I was going up and down the court in three or four dribbles, making cuts, dunking the ball… I didn’t want any doubles. I wanted them to fully capture my persona as Sweetwater.”
The 29-year-old also recorded a dramatic reading that held equal importance. “He embodied authenticity, vernacular, and voice tone,” Guigui remarked, likening Osborne’s demeanor to a “young Sidney Poitier.” He added, “Moreover, he’s 6-foot-4, so there was no need to exaggerate his height. His basketball skills seemed as if they were providentially presented to us on a platter by guardian angels.”
As a child, Osborne’s grandfather used to take him to the Staples Center to watch Kobe, Shaq and the Lakers during their three-peat era. He was in that very house last year when he received the call informing him that he had landed the role of Sweetwater.
“Kobe hitting a game-winner brought things full circle,” said Osborne.
In the film, Piven, portraying Lapchick, attempts to recruit Clifton to the Knicks, leading to a goosebump-inducing moment. Clifton dismisses his efforts, citing the NBA’s exclusively white teams. Piven, however, insists, leaning in to say, “It’s not going to be like that forever.”
“Everett’s talent allowed us to shoot all the basketball scenes in a single take,” said Piven, renowned for his lead role in “Entourage” and numerous other parts. “We played out those sequences in real-time, with me coaching from the sidelines. We just let the camera roll. Everett is truly a superstar, and this is his breakout moment.”
Portis of the Bucks stated, “He’s destined to be a high-profile actor. Just as it takes one playoff series to launch a basketball career, it only takes one movie to kickstart an acting career.”
All-Star cast delivers authentic performances
In the upcoming film “Sweetwater,” debuting on April 14, Richard Dreyfuss (on the left), Cary Elwes, and Everett Osborne perform a scene. (Photo credit goes to Tony Rivetti Jr.)
Guigui said that the abrupt approval of the production caught most of the cast and crew off guard.
“When I informed these individuals that we were proceeding with the movie production, Dreyfuss was particularly doubtful, questioning, ‘Are you certain?’ I affirmed my statement, to which he responded with a skeptical, ‘Sure. Sure, you’re certain.’ He didn’t truly accept it until the week prior to filming. I got back to him, informing, ‘Richard, your shooting begins on Monday. I require your presence on set in five days.’ To verify my claims, he had his wife speak with me on the phone.”
Some individuals had supported “Sweetwater” since its inception, while others had only recently become advocates. The majority were keen to guide the project to its conclusion, with the aid of Warner Bros’ resources making the process smoother.
“Being on set was enchanting, as everyone was incredibly precise and intensely committed to authenticity,” said Guigui. “They were focused on truth and mirroring not just visually but also aesthetically and grammatically how people conversed. There existed a certain eloquence during that time. People would dress in their finest attire to visit the Garden – it was akin to attending the opera.”
“I recall a moment when our prop master halted one of my shots because he noticed a man in the crowd wearing a modern wristwatch. Amidst the chaos of thousands of extras and recreating the Garden, he ran out, removed the inappropriate accessory, and replaced it with a period-piece watch. This epitomized the spirit of our project.”
The film covers all the anticipated aspects, including flashbacks to Clifton’s younger years, and emphasizes the discrimination he and other Blacks experienced during that time both on and off the basketball court. His teammates, whether they were Globetrotters or Knicks, were supportive.
This film also offers a cathartic experience. It imparts a feeling of cultural healing that lingers even after you’ve finished watching it. More than a tale of civil rights or racism, it’s a powerful call for change.
— Director Martin Guigui, on “Sweetwater”
The performances are impressive, with Osborne excelling in the lead role and Pollak, Piven, and Dreyfuss delivering reliably professional performances. Solid supporting roles are provided by Roberts, who convincingly plays a thankless bigot, Starr, and Caviezel, who is ideally cast as a sportswriter.
Narrating the 1950 story to a 2023 audience posed a significant challenge. The utilization of the term “Negro” is sufficiently startling, and the unavoidable use of the racial slur, commonly referred to as the “n-word”, employed to mirror the reality of that time, is likely to make some viewers cringe.
“The truth possesses a great deal of impact, particularly in mirroring American history,” the director stated. “This was not exclusive to basketball in 1950, it’s an accurate portrayal of that era. The audience is now more ready to accept this 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 Tuesday. He was accompanied by his brother Bruk and Rick Darnell, a former big man for the ABA Virginia Squires who now manages the Los Angeles chapter of the National Basketball Retired Players Association. Their father, Ernie VanDeWeghe, a six-year Knicks player, was a roommate of Clifton.
“The message is wonderful,” said the ex-NBA executive. “Now, a lot more people are going to be aware.”
The basketball scenes remain impressive, conveying a genuine feeling that Clifton’s style of play influenced Elgin Baylor’s, which then stylistically led to Connie Hawkins, Julius Erving, Magic Johnson and a vast number of contemporary players. It represents a fusion of creativity and competition.
During the closing credits, we see black-and-white images of the main characters depicted in the movie, interspersed with some footage of Clifton in action. There’s also a video snippet from his later years when he worked as a taxi driver in Chicago. His happiness, pride, and gratitude for the chance to utilize his skills and earn a living from a sport he adored are palpable.
“Watching this movie also provides a cathartic experience,” expressed Guigui. “It instills a sense of cultural healing not primarily focused on civil rights or racism. Instead, it’s about promoting change,” he further explained.
The moment Clifton first steps onto the court as a Knicks member is amplified for added drama. As moviegoers head to theaters today, Guigui gets to experience that.
“He admitted, “Once upon a time, I was losing sleep over the fear that the film would never be produced. Now, my excitement over its successful production is what’s causing my sleepless nights.”
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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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