28 years in the making, 'Sweetwater' premieres in theaters
In ‘Sweetwater’, Everett Osborne stars as Nathaniel ‘Sweetwater’ Clifton, who made history in 1950 as the first African American to sign an NBA contract. (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.
However, it’s also the backstory of “Sweetwater,” a newly released film about Clifton’s life. This movie followed its own challenging and uneven path, transitioning from initial inspiration and creative vision to a fully completed production.
Martin Guigui, the director, writer and composer of the film, told NBA.com, “I’ve always believed this story needed to be shared. I wasn’t certain I’d be the one to do it, but I felt it was my destiny. It was crucial for me to somehow bring this story to the world.”
Born and raised in Manhattan during the 1960s, Guigui, originally from Argentina, had a unique childhood. His father, Efrain, was the conductor of both the New York Philharmonic and the Vermont Symphony Orchestra. Efrain introduced Guigui to the thrill of live sports, taking him to Madison Square Garden to watch the Harlem Globetrotters. Later, they would become frequent spectators of the New York Knicks, where they watched the legendary trio of Walt Frazier, Willis Reed, and Earl Monroe play.
“Guigui said, “I turned into a complete fanatic for the game’s history. I admired everything Connie Hawkins did. The game was just so creative, there was something unique about it.”
Thus, when I began playing in junior high and high school, I wasn’t conforming to the system. The coaches would constantly tell me, ‘You can’t do that on my court.’ I would wonder, ‘What is he referring to?’
Guigui’s coach in a small Vermont town discussed his attempts at “razzle-dazzle,” a term some conservative characters in “Sweetwater” would derisively use when discussing “the Negro game.”
In April 1996, a few years later, Guigui decided to visit a girlfriend on his way to one of his band’s performances in New York. This led him to make a stop at the Naismith Memorial Basketball Hall of Fame. Upon exploring the museum, he sensed the absence of a piece of history from his favorite team.
Clifton, the first African-American star to be signed to an NBA contract, had nothing to be found on him. Along with Chuck Cooper from Boston and Earl Lloyd from Washington in the 1950-51 season, Clifton was part of a trio that integrated professional basketball. However, their achievement received far less attention and enduring recognition than what Jackie Robinson had accomplished in baseball three years prior.
Watch the official trailer for ‘Sweetwater,’ opening on April 14.
Tim Moore, a producer at Clint Eastwood’s Malpaso Productions and the one who took on the project, stated to NBA.com, “The peculiarity with this one is that even if you question sports enthusiasts ‘Who was the first African-American to participate in the NBA?’ they’re unlikely to know. During that time, college games and the NIT had more prominence. The NBA was solely 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 the cast, crew, and guests who gathered in the studio’s theater for the premiere. They were there not just for a movie, but to celebrate a christening of sorts. However, the birth of this project took not nine months, but decades.
Nat ‘Sweetwater’ Clifton made history by becoming the first African American to sign an NBA contract, revolutionizing the way the game is played.
Guigui’s commitment to making film never wavered
Clifton was 28 years old when he helped to desegregate his sport. His journey to this point involved 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 summer, he worked as a first baseman for the Chicago American Giants in the Negro League.
The director’s “passion project” was nationally released 28 years after Guigui’s visit to the Hall of Fame, signifying the gap.
It may appear suitable, akin to book ends or similar, if not for the years of hard work and frustration. Initially, Guigui spent time researching Clifton’s story for a potential book proposal. On a few occasions, he even considered turning it into a documentary. In 2014, he played a big role in nominating and advocating for Clifton’s induction into the Naismith Hall.
Martin’s dedication and enthusiasm towards creating this film have remained unwavering. We were entirely ready to offer our complete backing due to the importance of this story and its implications not just for the NBA, but for society at large.
— NBA Commissioner Adam Silver
Meanwhile, he was making a living in Los Angeles, constructing a career in filmmaking and music. He collaborated with renowned personalities like Faye Dunaway, Jonathan Winters, Robin Williams, Dennis Quaid, Billy Gibbons from ZZ Top, Lady Gaga, David Byrne, and many more. He tied the knot, started a family, received accolades, and during his free time, showcased his own flair as a player in the esteemed L.A. Entertainment League.
Despite all this, there’s still no “Sweetwater.” If this seems slightly recognizable, it’s because I covered this project for NBA.com in January 2010, 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 took over as the league’s commissioner in 2014 following David Stern’s retirement, is considered a friend by Guigui. Without Silver’s support, the film might have remained in limbo for a longer time. The 60-year-old New Yorker and Knicks fan confessed that he was largely unfamiliar with the stories of Clifton, Cooper, and Lloyd for many years.
“Martin’s unwavering passion and dedication to this film were evident,” Silver conveyed to NBA.com. “We were fully prepared to offer our complete backing due to the importance of this story, and its implications not just for the NBA, but for the wider society as well.”
Guigui presented the script once more to several producers, including Moore, in the autumn of 2019. However, the arrival of COVID-19 brought about shutdowns that impacted the film industry, among many others.
Guigui recalled, “Adam suggested, ‘This would probably be a good time to remove that from your drawer. Try to get that movie produced.’ To which I replied, ‘I’m on it.’ Later, 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 and we’ll discuss it?’”
As the lights of Hollywood started to shine again, Moore found some free time in his schedule. “He declared it was all set and ready,” shared the producer. “I’m an enormous fan of basketball and have always desired 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,” interacted with investors, increasing the budget from $5 million to $8 million. Guigui had already obtained a California rebate to support the in-state production of the movie. With Moore leveraging his connections, they managed to secure shooting at Warner Bros.
During the filming of “Sweetwater,” a scene is directed by Martin Guigui.
“He mentioned, “It’s uncommon to produce an independent film on a major lot. We managed to give it a studio-like ambiance. However, we had restrictions. We couldn’t allocate tens of millions of dollars to replicate Madison Square Garden. So, we had to be inventive. We secured the first three rows for our ‘Madison Square Garden’ on this stage, and employed visual effects for the rest.”
Following that, since it was a period piece, the focus was on the visual aesthetics. That’s the reason we chose Disney Ranch as our location, to give it a remote, isolated feel. We even filmed one scene in an actual barn, with the Globetrotters playing there, as it was something they would have done during that era.
Guigui stated, “This was a hybrid. It perfectly balanced the passion inherent in independent production with the efficiency of a studio machine.”
As Guigui repeatedly revised the script, approximately 60 times, he gradually formed his cast or offered roles. Back in 2010, mentions were made of actors such as James Caan to play 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 names suggested for the yet-to-be-determined project included 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 Joe Lapchick, who played a significant role in Sweetwater breaking that barrier, was a privilege,” Piven shared with NBA.com. “He was incredibly passionate and recognized a man who deserved a chance in the NBA. I genuinely 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, being 52, and Harris, at 53, were both considered too old by Guigui. He was looking for someone younger. He also had to deal with the unique casting conundrum often faced in sports films: Should he choose an actor who might be capable of convincingly performing basketball scenes, or should he select a player who could convincingly act?
Casting for leading role was a slam dunk
Everett Osborne, a former Division I basketball player at the University of Texas-Rio Grande Valley, later pursued a career in acting. (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 been a NCAA Division I basketball player at the University of Texas-Rio Grande Valley, part of the Western Athletic Conference. After his graduation in 2016, he spent a few seasons playing professional basketball in Australia. Later, he returned to his hometown of Los Angeles to pursue his passion for acting. His acting credits include roles on BET’s “Tyler Perry’s Sistas” and NBC’s “Chicago Fire.”
Guigui soon learned that both boxes were checked.
“The director, reflecting on the frantic search to cast the role of Sweetwater, shared the task of going through hundreds of submissions with casting personnel. The list of candidates included retired and active NBA players, actors, and musicians,” he said.
A guy named Everett had recorded himself on this one tape, playing basketball in what seemed like an antique gym. He was clad in a retro-style uniform, and his style mirrored that of Sweetwater Clifton’s – the towering dribble, the exaggerated strides, the jumps into the air, and the one-handed slam dunks. It occurred to me, ‘This man has really done his research.’ And his look, right down to his haircut, was spot on.
Osborne stated, “I accompanied my uncle to a basketball court where he filmed me in ‘Chuck Taylors’ [sneakers] and shorts, performing various moves. I was dribbling down the court in three or four touches, making cuts, and dunking the ball. I didn’t want any stunt doubles. I wanted them to capture every part of my persona as Sweetwater.”
The 29-year-old also recorded a riveting narration which held equal significance. “He possessed the authenticity, the vernacular, the voice tone,” Guigui observed, likening Osborne’s demeanor to a “young Sidney Poitier.” “Additionally, he’s 6-foot-4, so there was no need to exaggerate his height. His basketball performance was so impressive, it felt like he was gifted to us by guardian angels.”
While growing up, Osborne was often taken to Staples Center by his grandfather to watch Kobe, Shaq, and the three-peat Lakers. Last year, he was at that same house when he received the call announcing that he’d been chosen for Sweetwater.
“Kobe hitting a game-winner was a full circle moment,” said Osborne.
In the film, Piven, in his portrayal of Lapchick, has a moment that gives him goosebumps as he attempts to persuade Clifton to join the Knicks. Clifton dismisses him, bringing up the NBA’s entirely white rosters. Piven retorts, 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,” stated Piven, renowned for “Entourage” and countless other roles. “We’re performing those sequences live, with me coaching in the backdrop and just letting it flow. He’s a true superstar and this is his breakout moment.”
Portis from the Bucks said, “He is destined to be a renowned actor. Just like it only takes one playoff series to kick-start your basketball career, a single movie can also launch your acting career.”
All-Star cast delivers authentic performances
In the upcoming film “Sweetwater,” set to premiere on April 14, Richard Dreyfuss (on the left), Cary Elwes, and Everett Osborne are seen acting out a scene (Photo credited to Tony Rivetti Jr.).
Guigui said that the unexpected approval of the production caught most of the cast and crew off guard.
“When I informed them, specifically Dreyfuss, of our intent to produce the movie, his response was filled with skepticism. He asked, ‘Are you sure?’ I affirmed my certainty, to which he sarcastically responded, ‘Sure. Sure, you’re sure.’ His disbelief persisted until the week prior to filming. I contacted him again and told him, ‘Richard, your shooting begins this coming Monday. I require your presence on set in five days.’ To confirm my authenticity, he had his wife speak with me over the phone.”
Some had been supporting “Sweetwater” since its inception, while others had only recently joined the fray. The majority were keen to see the project to completion, with the resources of Warner Bros. making the journey smoother.
“Being on set was enchanting, as everyone was meticulously dedicated to authenticity,” stated Guigui. “The focus was not only on truth but also on accurately reflecting both the visual and aesthetic aspects, including the way people spoke grammatically. There was an elegance during that time. People would dress their best when they went to the Garden – it was akin to attending the opera.”
I recall a moment where our prop master, amidst thousands of extras and the recreation of the Garden, interrupted one of my shots. He had spotted a man in the crowd wearing a modern wristwatch. Swiftly, he ran up to him and exchanged the modern watch with a period-appropriate one. This incident truly encapsulates the spirit of our production.
The film encompasses all anticipated aspects including flashbacks to Clifton’s younger years and emphasizes the discrimination he and other Blacks encountered both on and off the basketball court during that period. Regardless of whether they were Globetrotters or Knicks, his teammates were supportive.
This film also provides a cathartic experience. It imparts a certain sense of cultural recovery when you finish watching, not primarily focusing on civil rights or racism, but promoting change.
— Director Martin Guigui, on “Sweetwater”
The performances are impressive, with Osborne delivering a strong lead role, along with dependable performances from pros like Pollak, Piven, and Dreyfuss. In addition, Roberts, Starr, and Caviezel contribute solid support, with Roberts in a challenging bigot role and Caviezel perfectly cast as a sportswriter.
Presenting the 1950 story to a 2023 audience posed a significant challenge. The term “Negro” is sufficiently startling, and the unavoidable inclusion of the “n-word” to realistically portray that era would likely make some viewers uncomfortable.
“The truth is quite harsh, especially when it mirrors American history,” stated the director. “This wasn’t exclusive to basketball in 1950, it’s an accurate depiction of that era. Audiences today are far more ready to accept this reality compared to previous years.”
Former NBA star, Kiki VanDeWeghe, who 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, an ex-ABA Virginia Squires player, who currently manages the National Basketball Retired Players Association’s Los Angeles chapter. Ernie, the father of the VanDeWeghe brothers, who had a six-year stint with the Knicks, was a roommate of Clifton.
“The message is wonderful,” said the former NBA executive. “Now, it’s going to reach a lot more people.”
The basketball scenes are still compelling, effectively conveying how Clifton’s style of play influenced Elgin Baylor’s, which in turn stylistically impacted Connie Hawkins, Julius Erving, Magic Johnson, and numerous contemporary players. It’s a blend of creativity and competition.
During the end credits, we see black-and-white images of the main characters from the film, interspersed with snippets of Clifton in action. A video clip from later in his life shows him driving a taxi in Chicago. His joy, pride, and gratitude for being able to use his talents and earn a living from a sport he loved are evident.
“Watching this movie also provides a cathartic experience,” said Guigui. “It offers a sense of cultural healing which is less about civil rights or racism, but more about promoting change.”
The moment Clifton first steps on the court as a Knicks player is heightened for extra drama. As moviegoers step into theaters today, Guigui gets to experience that.
“He said, ‘I once lost sleep, worrying that the film would never be produced. Now, my sleeplessness is due to the excitement that it was indeed 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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