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 also serves as the backstory of “Sweetwater,” a newly released film about Clifton’s life. This movie has navigated its own challenging and rough journey from initial inspiration and creative vision to final production.
“This story was always destined to be told,” Martin Guigui, the film’s director, writer and composer, shared with NBA.com. “I wasn’t convinced I’d be the one selected, but I felt a deep sense of calling. I was compelled to share this story with the world in some way.”
Guigui, who originally hailed from Argentina, spent his formative years in Manhattan during the 1960s. His father, Efrain, who conducted the New York Philharmonic and later the Vermont Symphony Orchestra, introduced him to the world of basketball by taking him to Madison Square Garden to watch the Harlem Globetrotters. In subsequent years, they also watched games featuring New York Knicks legends like Walt Frazier, Willis Reed, and Earl Monroe.
“Guigui admitted, “I turned into a total fanatic for the game’s history. I admired everything Connie Hawkins did. The game was simply creative, there was something unique about it.”
“When I began participating in junior high and high school, I wasn’t able to adapt to the system. The coaches would invariably inform me, ‘That isn’t allowed on my court.’ I’d wonder, ‘What’s he referring to?'”
Guigui’s efforts at “razzle-dazzle” were being discussed by his coach in a small Vermont town, a phrase that some conservative characters in “Sweetwater” would scornfully use in reference to “the Negro game.”
Several years afterwards, specifically in April 1996, Guigui decided to visit his girlfriend on his way to a performance with his band in New York. During his journey, he made a stop at the Naismith Memorial Basketball Hall of Fame. Upon exploring the museum, he noticed a missing piece of history from his beloved basketball team.
Clifton, the first African-American star to be signed to an NBA contract, had nothing that could be found. Alongside Boston’s Chuck Cooper and Washington’s Earl Lloyd in the 1950-51 season, Clifton integrated professional basketball. They did so with significantly less attention or enduring recognition than Jackie Robinson received for integrating baseball three years prior.
Watch the official trailer for ‘Sweetwater,’ set to open on April 14.
Tim Moore, a producer at Clint Eastwood’s Malpaso Productions and the person who ultimately tackled the project, shared with NBA.com that this particular story is unique. He said even sports enthusiasts might struggle to identify the first African-American NBA player. Moore pointed out that during that time, college basketball and the NIT were more popular. He added that the NBA was exclusive to 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 for a premiere at the studio’s theater. However, it was more of a christening than a movie. Unlike the typical nine months, this project’s birth took decades.
Nat ‘Sweetwater’ Clifton made history by becoming the first African American to sign a contract with the NBA, thereby forever altering the manner in which 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 to that point included growing up in Chicago, attending Xavier University in Louisiana, serving as a sergeant in the U.S. Army, and playing for the all-Black New York Rens and the Harlem Globetrotters. He also spent some summers working as a first baseman for the Chicago American Giants in baseball’s Negro League.
There was a 28-year gap from Guigui’s visit to the Hall of Fame to the nationwide release of the director’s “passion project.”
It may appear appropriate, akin to bookends or something similar, if not for the years of labor and annoyance. Guigui spent some time investigating the story for a book proposal about Clifton. Afterwards, he contemplated it as a potential documentary a few times. Guigui assisted in nominating and lobbying for Clifton’s induction into the Naismith Hall in 2014.
Martin’s dedication and enthusiasm for creating this film has remained unflinching. We were entirely prepared to offer our complete support due to the importance of this story and its implications not only for the NBA, but for our wider society.
— NBA Commissioner Adam Silver
Meanwhile, he made a living in Los Angeles while establishing his career as a filmmaker and musician, collaborating with renowned personalities such as Faye Dunaway, Jonathan Winters, Robin Williams, Dennis Quaid, Billy Gibbons of ZZ Top, Lady Gaga, David Byrne, and numerous others. He tied the knot, built a family, garnered awards, and in his leisure time, showcased his own flair as a player in the legendary L.A. Entertainment League.
Despite all this, there’s still no “Sweetwater”. If it seems vaguely familiar, it’s because I discussed this project on NBA.com back 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 became 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 continued to face delays. Despite being a New Yorker and a Knicks fan, Silver, 60, confessed that he had little knowledge of Clifton’s, Cooper’s, and Lloyd’s stories for many years.
Silver informed NBA.com that Martin’s dedication and fervor in creating this film has remained unwavering. He added that they were entirely ready to offer their complete support due to the importance of this story and its impact not just on the NBA, but on the larger 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 and the ensuing lockdowns that led to the closure of the film industry among others, disrupted the process.
Guigui recalled, “Adam suggested, ‘This might be the ideal time to bring that out of your drawer. Try to get that movie produced.’ I responded, ‘I’m making an effort.’ Later, in the fall of 2021, Tim contacted me. He proposed, ‘We’re beginning to review things. Why not join us and discuss it?'”
When the lights of Hollywood started to glow again, Moore found a gap in his timetable. “He said everything was set,” the producer stated. “I am a huge basketball enthusiast and have always wanted to make a basketball film. I wasn’t too familiar with Sweetwater, but I was drawn to the script.”
Moore, a collaborator of Eastwood on films including “Gran Torino,” “Million Dollar Baby,” “American Sniper” and “Jersey Boys,” managed to increase the budget from $5 million to $8 million after meeting with investors. A California rebate had already been secured by Guigui to offset the costs of filming in the state. Thanks to Moore “calling in some favors,” the film could be shot directly at Warner Bros.
During the filming of “Sweetwater,” a scene is directed by Martin Guigui.
“He said, ‘Shooting an independent film on a major lot isn’t a frequent occurrence. We tried to give it a studio feel. However, there were constraints. We couldn’t afford to spend tens of millions of dollars to replicate Madison Square Garden. So, we had to be resourceful. We managed to get the first three rows for our ‘Madison Square Garden’ on this stage, and used visual effects for the rest.”
Following that, the focus was on the aesthetic since it was a period piece. This led us to the Disney Ranch to create a sense of isolation. We even filmed a scene in an actual barn featuring the Globetrotters, as it was something they did at the time.
Guigui stated, “This was a hybrid. It struck a perfect balance between the passion infused in an independent production and the efficiency of a studio machine.”
As Guigui continued to rewrite the script, estimated to be around 60 times, he began to offer roles or imagine his ideal cast. Back in 2010, the potential cast included James Caan envisioned as 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 mentioned for this yet-to-be-decided 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.
Piven expressed to NBA.com that portraying Joe Lapchick, a key figure in Sweetwater’s barrier-breaking journey, was a privilege. He described Lapchick as intensely passionate and someone who recognised a deserving player for the NBA. Piven shared that he profoundly resonated with this.
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, making them too old for Guigui’s requirements. He faced the unique casting dilemma often seen in sports films: should he choose an actor with the hopes they can handle the basketball scenes, or select a player who could convincingly act?
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.”
This comes as no surprise: Osborne had participated in NCAA Division I basketball at the University of Texas-Rio Grande Valley, representing the Western Athletic Conference. Upon his graduation in 2016, he pursued a professional basketball career in Australia for two seasons. He then returned to his hometown, Los Angeles, to concentrate on his acting aspirations. He was featured in BET’s “Tyler Perry’s Sistas” and NBC’s “Chicago Fire.”
Guigui soon learned that both boxes were checked.
“The director reminisced about the frantic search to cast the role of Sweetwater. He mentioned the task involved reviewing hundreds of submissions from a diverse group that included retired and active NBA players, actors, and musicians,” the director stated.
A gentleman named Everett had recorded himself playing basketball in a seemingly old-fashioned gym on this one tape. His attire was reminiscent of past times, clad in a retro-style uniform. The way he played was strikingly similar to Sweetwater Clifton’s style: the tall dribbles, the wide strides, the soaring jumps, the one-handed slams. I thought to myself, ‘Impressive, this guy has really done his research.’ Even his hairstyle fit the bill.
Osborne stated, “I attended a court with my uncle who recorded me in ‘Chuck Taylors’ [sneakers], wearing little shorts, and performing various moves. I was moving up and down the court in three or four dribbles, making cuts, and dunking the ball. I didn’t want any doubles, I wanted them to fully capture me being Sweetwater.”
The 29-year-old also recorded a dramatic reading that held equal importance. “He embodied authenticity, vernacular, and tone,” Guigui remarked, noting that Osborne’s demeanor echoed the aura of a “young Sidney Poitier.” “Moreover, he stands at 6-foot-4, so there was no need to falsify his height. His basketball skills made it seem as though he was handed to us on a silver platter by guardian angels,” he added.
As a child, Osborne used to be taken to the Staples Center by his grandfather to watch Kobe, Shaq, and the three-peat Lakers. He was at that same house last year when he received the call informing him that he’d be playing the role of Sweetwater.
Osborne said, “It was a complete circle moment. Kobe scoring the game-winning shot.”
In the movie, Piven, portraying Lapchick, attempts to persuade Clifton to join the Knicks – a moment that gives him goosebumps. Clifton dismisses the idea, citing the NBA’s all-white teams. Undeterred, Piven assures him, “It’s not going to be like that forever.”
“Thanks to Everett’s talent, we had the potential to film all the basketball scenes in a single shot,” stated Piven, renowned for his lead role in “Entourage” and countless other parts. “We’re executing those sequences in real time, with me directing from the sidelines, and simply letting it flow. He’s undoubtedly a superstar, and this is his grand debut,” he added.
Portis of the Bucks stated, “He’s destined to be a renowned actor. Just as one playoff series can catapult your basketball career, it only takes one movie to 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 can be seen acting 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 these gentlemen that we were going ahead with the film, Dreyfuss was particularly skeptical, questioning, ‘Are you certain?’ Despite my affirmation, he remained doubtful until the week prior to shooting. I contacted him again, telling him, ‘Richard, your filming begins on Monday. I require your presence on the set in five days.’ To verify my honesty, he handed the phone to his wife.”
Some had been supporting “Sweetwater” since its inception, while others had only recently jumped on board. The majority were excited to guide the project to completion, greatly aided by the resources provided by Warner Bros.
“Being on set was enchantical, as everyone was extremely particular and sharply concentrated on authenticity,” Guigui commented. “They were focused on truth and on recreating not just visually but also aesthetically and grammatically the way people spoke. There was a certain elegance during that time. People used to attend the Garden dressed to the nines – it was akin to attending the opera.”
“I recall a time when our prop master stopped one of my shots during the filming with thousands of extras and the recreation of the Garden. He had spotted a modern wristwatch on one man in the crowd, ran out to him, and replaced it with a period-piece watch. That incident truly embodied the spirit of our project.”
The film covers all the anticipated aspects, including flashbacks to Clifton’s early years, and emphasizes the discrimination he and other Black people experienced both on and off the court during that time. His teammates, whether from the Globetrotters or the Knicks, showed their support.
This film also offers a cathartic experience. You leave with a sense of cultural healing. It’s less about civil rights or racism, and more about promoting change.
— Director Martin Guigui, on “Sweetwater”
The performances are impressive, with Osborne delivering as the lead and Pollak, Piven, and Dreyfuss showcasing their reliability as professionals. Solid supporting performances are also seen from Roberts, who flawlessly portrays a thankless bigot role, along with Starr and Caviezel, who was perfectly cast as a sportswriter.
The task of presenting the 1950 narrative to a 2023 audience posed a significant challenge. The usage of “Negro” is sufficiently startling, and the unavoidable use of the “n-word” to portray the true reality of the time will undoubtedly cause discomfort among some viewers.
“The truth holds a significant impact, particularly in mirroring American history,” stated the director. “This wasn’t just about basketball in 1950, but rather a representation of that era. Today’s audience is far more ready to understand and accept it compared to the past.”
Former NBA star Kiki VanDeWeghe, who previously served as the league’s executive VP of basketball operations for eight years, attended a premiere on Tuesday. He was accompanied by his brother Bruk and Rick Darnell, a former ABA Virginia Squires big man who currently heads the Los Angeles chapter of the National Basketball Retired Players Association. Their father, Ernie VanDeWeghe, a six-year Knicks player, was roommates with Clifton.
“The message is wonderful,” said the former NBA executive. “Now, a lot more people are going to be aware of it.”
The basketball scenes are still impactful, illustrating how Clifton’s style of play influenced Elgin Baylor’s, which in turn paved the way for the styles of Connie Hawkins, Julius Erving, Magic Johnson, and numerous contemporary players. This creativity was intertwined with competition.
As the end credits roll, we are presented with black-and-white photographs of the main characters featured in the film, interspersed with clips showcasing Clifton in action. Additionally, there is a video clip from later in his life where he is working as a taxi driver in Chicago. His demeanor radiates happiness, dignity, and gratitude for the chance to utilize his skills and make a living from a sport he was passionate about.
“Watching this film also offers a cathartic experience,” said Guigui. “It provides a sense of cultural healing. The film’s impact isn’t primarily about civil rights or racism, it’s about promoting change.”
As Clifton steps onto the court for the first time as a Knicks player, the moment is amplified for dramatic effect. Today, as moviegoers step into theaters, Guigui gets to experience that.
“He confessed, “I once lost sleep fretting that the film would never be produced. Now, I’m losing sleep out of sheer excitement because it finally has been 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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