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 the movie ‘Sweetwater’. (Photo credit: 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 new motion picture about Clifton’s life, also followed its own tumultuous and difficult journey from concept and creativity to final production.
Martin Guigui, the director, writer and composer of the film, confessed to NBA.com, “I was always certain this story would be shared. While I wasn’t sure I would be the one selected to do so, it felt like my destiny. I was compelled to bring this story to global attention somehow.”
Guigui, originally from Argentina, spent his childhood years in Manhattan during the 1960s. He was often taken to Madison Square Garden by his father, Efrain, who was a conductor for the New York Philharmonic and subsequently the Vermont Symphony Orchestra. They went to see the Harlem Globetrotters play and later, they watched the New York Knicks team, featuring Walt Frazier, Willis Reed, and Earl Monroe.
“Guigui confessed, “I turned into an absolute fanatic of the game’s history. I admired everything Connie Hawkins did. The game was inventive, there was something unique about it.”
“So, I began to play in junior high and high school but I didn’t fit into their system. The coaches would frequently tell me, ‘You can’t do that on my court.’ I would wonder, ‘What is he referring to?'”
Guigui’s coach from a small town in Vermont was discussing his attempts at “razzle-dazzle,” a term that some conservative characters in “Sweetwater” would scornfully use to describe “the Negro game.”
In April 1996, several years later, Guigui was on his way to one of his band’s performances in New York. He decided to take a detour to visit his girlfriend. During his journey, he made a stop at the Naismith Memorial Basketball Hall of Fame. While touring the museum, he noticed that a part of the history of his beloved team was missing.
Clifton, the first African-American star to be signed and recruited to an NBA contract, had nothing on record. He, along with Boston’s Chuck Cooper and Washington’s Earl Lloyd, integrated professional basketball in the 1950-51 season. This trio did what Jackie Robinson had accomplished in baseball three years prior, but with much less recognition and acclaim.
Watch the official trailer for ‘Sweetwater,’ set to open on April 14.
Tim Moore, a producer at Clint Eastwood’s Malpaso Productions and the individual who eventually undertook the project, shared with NBA.com, “What’s special about this one is that even if you inquire from sports enthusiasts, ‘Who was the first African-American to play in the NBA?’ they probably won’t know. In those days, college basketball and the NIT were more popular. The NBA was exclusively 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 congregated not just for a movie premiere, but to celebrate a christening of sorts. However, instead of nine months, this project took decades to come to fruition.
Nat ‘Sweetwater’ Clifton made history by being the first African American to sign an NBA contract, permanently altering the nature of the game.
Guigui’s commitment to making film never wavered
Clifton was twenty-eight years old when he helped break the color line in his sport. He had grown up in Chicago, attended Xavier University in Louisiana, and served as a sergeant in the U.S. Army. His sporting career included playing for the all-Black New York Rens and the Harlem Globetrotters. Additionally, he spent some summers working as a first baseman for the Chicago American Giants in the Negro League of baseball.
The gap between Guigui’s visit to the Hall of Fame and the nationwide release of the director’s “passion project” spans 28 years.
The notion may appear appropriate, akin to book ends or the like, if it weren’t for the years of toil and irritation. Guigui spent some time investigating the tale for a potential book pitch about Clifton. Afterwards, he occasionally considered it as a viable documentary topic. He aided 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 unfaltering. We were completely ready to offer our total support given the importance of this story and its implications not just for the NBA, but for our society at large.
— NBA Commissioner Adam Silver
Meanwhile, he made a living and established a career as a filmmaker and musician in Los Angeles, collaborating with renowned figures such as Faye Dunaway, Jonathan Winters, Robin Williams, Dennis Quaid, Billy Gibbons of ZZ Top, Lady Gaga, David Byrne and many others. He tied the knot, started a family, won accolades and used his free time to showcase his unique talents as a player in the legendary L.A. Entertainment League.
Despite all this, there’s still no “Sweetwater.” You may recall some of this, as I wrote about this project for NBA.com in January 2010, which is nearly 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 became the league’s commissioner in 2014 following David Stern’s retirement, is now seen as a friend by Guigui. Without Silver’s support, the film might have remained in limbo. Despite being a New Yorker and a Knicks fan, the 60-year-old Silver confessed that he had very little knowledge of Clifton, Cooper, and Lloyd’s stories for many years.
Silver informed NBA.com that Martin’s dedication and enthusiasm towards producing this film has remained unwavering. He further expressed their readiness to offer full support due to the importance of the story, 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, when COVID-19 struck and resulted in lockdowns, it led to the closure of not just the film industry but many other industries as well.
“Guigui recalled, ‘Adam once suggested, ‘Maybe it’s time to take that out of your drawer. See if you can get that movie produced.’ To which I replied, ‘I’m trying.’ Then, in the fall of 2021, I received a call from Tim. He proposed, ‘We’re beginning to consider projects. Why don’t you come by and we can discuss it?'”
Moore found a gap in his timetable as Hollywood’s lights were reignited. “He claimed everything was set,” the producer remarked. “I’m a huge basketball enthusiast and have always wanted to make a film about it. I didn’t have much knowledge about Sweetwater, but I was drawn to the script.”
Moore, known for his work on Eastwood films like “Gran Torino,” “Million Dollar Baby,” “American Sniper,” and “Jersey Boys,” met with investors and raised the budget from $5 million to $8 million. Guigui had already secured a California rebate to subsidize the movie’s in-state production. With Moore leveraging his connections, they managed to secure a shooting location at Warner Bros.
During the filming of “Sweetwater,” a scene is directed by Martin Guigui.
“He mentioned, “It’s a rarity to film an independent movie on a significant lot. We gave it a studio-like aura. However, there were constraints. We didn’t have the luxury to spend tens of millions to replicate Madison Square Garden. Hence, we had to be resourceful. We managed to get the first three rows for our ‘Madison Square Garden’ on this stage, while the rest were created using visual effects.”
Following that, the focus was on creating an authentic aesthetic, given that it was a period piece. This led us to Disney Ranch, a location that provided the isolated feel we were aiming for. We even filmed a scene in an actual barn featuring the Globetrotters, as was customary during that period.
Guigui stated, “This was a hybrid. It perfectly balanced the passion inherent in independent production with the efficiency of the studio machine.”
As Guigui refined the script approximately 60 times over the years, he began to consider potential cast members. Back in 2010, he suggested roles for 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 actors like Richard Dreyfuss, Louis Gossett Jr., Mira Sorvino, and Burt Young were also considered 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 breaking of barriers. He characterized Lapchick as extremely passionate and someone who recognized a deserving player for the NBA. Piven shared that he strongly resonated with this perspective.
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. This was too old for Guigui, who was seeking a younger actor. Further complicating the casting process was the unique challenge posed by sports films: should you hire an actor and hope they can convincingly play basketball, or should you hire a basketball player and hope they can act convincingly?
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.”
It’s not surprising to hear 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. Upon his graduation in 2016, he took his skills to Australia, playing professionally for a few seasons. Afterwards, Osborne moved back to his hometown of Los Angeles to pursue his acting career. He had roles in popular shows such as BET’s “Tyler Perry’s Sistas” and NBC’s “Chicago Fire.”
As Guigui soon learned, both boxes were checked.
“The director reminisced about the frantic search to find the actor for the role of Sweetwater. The task involved going through hundreds of submissions from a pool that included both retired and active NBA players, actors, and musical artists, alongside the casting team,” he said.
On this particular tape, a man named Everett had recorded himself playing basketball in a seemingly old-fashioned gym. He sported a retro-style uniform, and his gameplay was reminiscent of Sweetwater Clifton’s style: the high bounce of the ball, the large strides, the jumps, and the one-handed dunks. I thought to myself, ‘This man has certainly done his research.’ And his hairstyle only added to this impression.
Osborne stated, “I accompanied my uncle to a court where he filmed me playing in ‘Chuck Taylors’ [sneakers] and small shorts, executing various moves. I was dribbling up and down the court in three or four touches, making cuts, dunking the ball. I insisted on no doubles, wanting them to capture every aspect of me being Sweetwater.”
The 29-year-old also recorded a dramatic reading that held equal significance. “His authenticity, his vernacular, the tone of his voice,” Guigui described, likening Osborne’s demeanor to that of a “young Sidney Poitier.” He added, “He’s also 6-foot-4, so we didn’t need to exaggerate his height. His basketball skills made it seem as if he were hand-delivered by guardian angels.”
As a child, Osborne’s grandfather would take him to the Staples Center to watch Kobe, Shaq, and the Lakers during their three-peat era. It was at this very house that he received the call last year, informing him that he would be playing Sweetwater.
“Kobe hitting a game-winner was a full circle moment,” said Osborne.
In the movie, Piven, portraying Lapchick, has a moment that gives him goosebumps as he attempts to lure Clifton to the Knicks. Clifton responds with skepticism, bringing up the entirely white rosters of the NBA. Piven retorts, leaning in, “It’s not going to be like that forever.”
“Thanks to Everett’s skills, we managed to shoot all the basketball scenes in one take,” stated Piven, renowned for his leading role in “Entourage” and numerous other performances. “We played out those sequences in real time, with me coaching in the background, and simply let it flow. He’s a true superstar and this is his breakout moment.”
Portis from the Bucks commented, “He’s destined to be a renowned actor. Just as it takes one playoff series to launch your basketball career, it only takes one movie to jumpstart an acting career.”
All-Star cast delivers authentic performances
In “Sweetwater,” set to debut on April 14, a scene is acted out by Richard Dreyfuss (left), Cary Elwes, and Everett Osborne. (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 of our movie plans, Dreyfuss, specifically, responded skeptically, ‘Are you sure?’ I confirmed, but he remained doubtful, repeating, ‘Sure. Sure, you’re sure.’ His disbelief lingered until a week before shooting. At that point, I contacted him again, ‘Richard, filming begins on Monday. I need you on set in five days.’ Doubting my sincerity, he handed the phone to his wife to confirm my truthfulness.”
Some had supported “Sweetwater” from its inception, while others had only recently joined. The majority were keen to guide the project to completion, with Warner Bros.’ resources facilitating the process.
Guigui described the on-set experience as magical due to everyone’s specific attention to and laser focus on authenticity. “Our aim was not only visual replication, but also to authentically portray how people spoke back then in terms of aesthetics and grammar. There was a certain eloquence in that era. It was similar to attending the opera when people would dress to the nines just to visit the Garden.”
I recall how our prop master, in the spirit of authenticity, interrupted one of my shots during a scene with thousands of extras set in the Garden. He had spotted a man in the crowd wearing a modern wristwatch. Swiftly, he ran out, removed it, and replaced it with a period-appropriate watch.
The film covers all the anticipated aspects, including flashbacks to Clifton’s early life, and emphasizes the discrimination he and other Blacks encountered both on and off the court during that time period. His teammates, whether from the Globetrotters or the Knicks, were supportive.
This film also offers a cathartic experience. It imparts a kind of cultural healing when you leave the theater, not so much focusing on civil rights or racism, but rather promoting change.
— Director Martin Guigui, on “Sweetwater”
The performances are compelling, with Osborne delivering strongly as the lead, while Pollak, Piven, and Dreyfuss prove their reliability as professionals. In addition, solid support is provided by Roberts, who skillfully portrays a thankless bigot role, alongside Starr and Caviezel, who is, unsurprisingly, perfectly cast as a sportswriter.
Presenting the 1950 narrative to a 2023 audience posed a significant challenge. The use of the term “Negro” can be quite shocking, and the unavoidable use of the “n-word” to accurately depict the past may cause discomfort among some viewers.
“The truth carries a significant weight, particularly in its depiction of American history,” said the director. “This wasn’t limited to basketball in 1950, it’s a reflection of that era. The audience today is far better prepared to handle this reality than they were in the past.”
Former NBA star and league’s executive VP of basketball operations for eight years, Kiki VanDeWeghe, was present at the premiere this Tuesday. He was accompanied by his brother Bruk and Rick Darnell, who was once a prominent player for ABA Virginia Squires and is currently overseeing the National Basketball Retired Players Association’s chapter in Los Angeles. Their father, Ernie VanDeWeghe, who had a six-year stint with the Knicks, used to share a room with Clifton.
“The message is really wonderful,” said the ex-NBA executive. “Now, a lot more people will become aware.”
The basketball sequences remain compelling, conveying a real impression that Clifton’s style of play influenced Elgin Baylor’s, which in turn shaped the playstyles of Connie Hawkins, Julius Erving, Magic Johnson and numerous contemporary players. There was a fusion of creativity and competition.
As the end credits roll, we see black-and-white photographs of the main characters depicted in the movie, interspersed with a few action clips of Clifton. A video clip from his later life shows him driving a taxi in Chicago. His joy, pride, and gratitude for being able to use his talents and make a living from a sport he loved are palpable.
“Watching this movie is also a cathartic experience,” said Guigui. “When you finish watching it, there’s a sense of cultural healing that comes over you. It’s less about civil rights or racism and more about promoting change.”
The moment Clifton first steps on the court as a Knicks member is presented with additional drama. Guigui experiences this as cinema-goers step into theaters today.
“He said, ‘I used to lose sleep fretting that the film might never be produced. Now, my lost sleep stems from the excitement that it actually got 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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