Underdog

 

“Underdog”

A Review of Sweetwater by Nick Olszyk

 

Distribution Service: Theatrical

MPAA Rating, PG-13

CNS Rating, Not Rated at the Time of this Review

Reel Rating, Three Reels             

 

There have been countless films created about the difficulties that “the first” of a discriminated class must face when entering previously barred territory, so many that it is easy to become jaded. This is especially a trial when the audience – or critic – is apathetic to the territory in question. Sweetwater tells the story of the first African American man drafted into the NBA. I enjoy casually playing HORSE with my son; beyond that, basketball holds no interest for me. I only know two professional players: Michael Jordan, because he helped Bugs Bunny escape slavery in Space Jam, and Kareem Abdul-Jabbar, because he was the cameo co-pilot in Airplane. Yet, this “tabla rosa” gave me an advantage. Without an iota of knowledge about the sport, Sweetwater’s attention to detail and immersive atmosphere got me intrigued with the humble origins of this now billion-dollar enterprise. Unfortunately, this interest did not extend to its hero, more a fault of the filmmakers rather than his own extraordinary deeds.

Nat “Sweetwater” Clifton (Everett Osborne) is the best player on the Harlem Globetrotters, an all-black team that barnstorms basketball games across the country. While not an NBA franchise due to their race, they often play professional teams and almost always win, much like the more prominent Negro Leagues of baseball. It’s not just racism that keeps Clifton and his friends out but fears about the changing nature of the game. Yet change is in the air, and owner Knicks owner Ned Irish (Cary Elwes) recognizes Clifton’s potential. Driven by love of both God and Mammon, he offers Clifton a contract. His road will be rocky, but it will leave a trail for countless others to follow.

Sweetwater’s greatest joy was a brilliant look at the early days of basketball. In the 40s, basketball was still in its infancy, playing 6^th fiddle to baseball which dominated the sporting world. The biggest teams played in stadiums that today wouldn’t rival high school arenas; a thousand fans was a good night for the Celtics or Lakers. The star player on a NBA team was big rather than tall, imitating Babe Ruth over Larry Bird. Owners, coaches, and players alike were not millionaires but one step above 9-5 factory workers who had to fight for every penny. Black teams like the Globetrotters had it even worse, traveling on a dilapidated bus from town to town, often sleeping in the seats because hotels wouldn’t accommodate them.

As expected, there are moments of racial tension and hatred. One gas station owner threatens to shoot Clifton dead when he attempts to pay for petrol. Even Mr. Irish is assaulted at one point. Yet, this familiar motif is set aside for a larger conversation about how integration will change the game. When Clifton dunks the ball for the first time ever on a NBA court, it is invalidated simply because “it hasn’t been seen before.”

The older owners want to keep to their roots, when the hoop was literally a peach basket. Games were slow and more deliberate, amassing points at a regular pace. The Globetrotters favor a game of speed and spectacle. When they are badly beating a rural high school team, the squad starts laying up baskets for their opponent, only to win by a single three-pointer at the buzzer. When facing off with the Knicks, one of Clifton’s teammates sits on the ground, dribbling around himself while his blocker fumbles sheepishly for the ball. The Globetrotters understand historian John Thorn’s adage that “without fans, they’re playing back in the field before cows.” Sports is as much entertainment as athletic excellence, and, in the end, pure business – not only morality – will push the game forward.

There is nothing terribly wrong with Sweetwater, but it does suffer from occasional dullness. It is also a story that has been heard time and time again.  Yet in an age when “progress” often means demonizes everyone older than twenty-five, it’s nice to see a traditional human rights film where people of multiple races and perspectives come together to do something amazing for their society.