259:(scraping and begging and wringing his hat) until the white judge lets him off with a warning. This enrages Dave who is ashamed that Blueboy would degrade himself for the white judge, rather than hire a lawyer and defend himself with dignity and confidence becoming of a powerful businessman. Blueboy explains that his actions were tactical, and he used the court's white prejudice to manipulate the system and protect their business. The partners fight and Blueboy leaves, but when the mafia returns to attack Dave, Blueboy appears with a shotgun to save his friend. In the final battle, Blueboy is shot and dies in Dave's arms. As the film (and flashback) ends, Dave is walking in Blueboy's funeral procession, when he realizes what his mentor was trying to teach him. He narrates, "To Blueboy, the important thing was to pass it on. Like them footraces where one runner passes the stick on to another runner, and he keeps on running and running until it's time for him to pass it on. Blueboy passed it on to me, and I guess it's my turn now. Blueboy took it just as far as he could go. And if us niggers keep passing it on, maybe someday, just maybe someday, we'll pull up alongside them crackers, and maybe, maybe even pull ahead. The Lord knows I'd love to see that day." Dave plans to use the same courtroom tactic to evade a conviction, and to continue the numbers business.
448:
argues that
Blueboy's courtroom behavior made the white people think they were fools, Blueboy states in the film, "Son, what they think don't matter. Don't you know having the crackers' respect don't mean we ain't one bit less nigger to them?!" However, Dave, who is young and proud, argues that they should fight and stand up for their dignity in the face of racism. "And you call being reduced to nothing 'foolin em'? Crackers ain't that crazy. Now I can see fighting them and losing 'em, but what you done ... ?!" The relationship between the two main characters are that of father and son, as Blueboy explains, "Dave, do you think I'm proud of what I done? You think I've been proud all my life of having to bow my head and 'Tom.' Just so as I could survive. Son, I did what I done today for you. For you youngins. 'Cause you youngins got to carry on the good fight. Me? My kind, we're finished. But you can't do it behind bars." Blueboy's intention is to tactically avoid imprisonment by using the ignorance of the white judge and pretend to be a bumbling black stereotype. This method is echoed in other films, such as
473:
leadership and influence as controllers of the numbers racket. This success and wealth quickly spreads to their numerous employees and can be seen visually through costume and set changes. When they first arrive in town, they meet with several black men, all dressed in shabby clothing and overalls. After enlisting them to help with their enterprise, everyone can be seen wearing fine suits and hats in later scenes, and they can afford to purchase a large home with numerous recreation rooms. A principal statement of the source material for the film is that black people were not afforded enough economic opportunities to truly achieve the
American Dream, and thus in order for there to be black wealth, there had to be crime. But the director's objective for the film was not to glorify crime, rather to show a part of the community that offered financial hope and independence.
251:. He foreshadows that he wished he had never gone to El Dorado, as he is seen walking in a jazz funeral. The remainder of the film is a flashback to the illegal business with his partner and mentor, Blueboy, their struggles with the mafia, the KKK and a corrupt police force. Together with various employees, they start an illegal lottery in the back of a hair salon which quickly becomes profitable. A nearby white mafia boss, Luis Antoine (Gilbert Greene) sends one of his black lieutenants, Joe Gaines (Jerry Leon) to intimidate Dave and Blueboy into handing over their profits, but they refuse, resulting in a shoot-out where several characters are killed. The rival mafia gang later attacks the salon and steals all of the numbers books (vital receipts to keep the business operational), so Dave and his friends concoct a plan to steal more. They dress up as members of the
255:, sneak over to the rival gang's hideout, and set up a burning cross to frighten Gaine's crew out of the house. But a posse of the real KKK arrive and attempt to join in the "good action" without realizing that underneath the white hoods were Dave's cohorts. Once revealed, a car chase ensues, and Dave's crew escape. Unexpectedly, a corrupt white police force raids the salon, steals all the cash and arrests Blueboy. He beats the conviction when he enters the courtroom and acts like a black stereotype
478:
only business in
America that was open to every enterprising Negro.' Their success – and the creativity and intelligence they must utilize to attain it – make the pair prototypical 'race men,' figures in black whose rise invigorates the community that bears witness to their climb. To many of the scrambling regulars of the Block, Blueboy and Dave are antiheroes in the best possible sense, doing for self and kind without appearing to bow and scrape before 'the Man.'"
386:
363:, published in 1969. It was filmed outside Dallas, Texas as the setting for rural Arkansas of the 1930s, and originally the funding was difficult to raise. While filming in 1972, director Raymond St. Jacques' home in Bel Air was robbed. In one scene from the film, characters bet on the famous boxing match between
29:
371:
stated that the offer for her to play the role of Kelly was a shock, and she described the set as hot and humid, but fun to work on. Director
Raymond St. Jacques intended for this film to be the first in several movies and plays that would feature stories about the black experience, and he ensured
490:
Additionally, there is a corrupt white police force that robs from black characters with impunity. In an early scene, Blip Blip (C. L. Williams) is pulled over by a white cop for speeding, only to accept a bribe but demand everything in his wallet. When the police raid the salon, they take all the
486:
films, there is also the presence of the mafia. The rival gang that tries to muscle in on the protagonists' community is run by a white mafia boss, Luis
Antoine, who has hired a black lieutenant, Gaines. In the first scene with Antoine, he is in a naked in a bathtub giving orders to Gaines, who is
477:
Playwright and professor of literature at
Emerson College, Jabari Asim, writes, "Dave, a young man with a nose for cash, and Blueboy, a 'born professional if ever there was one,' have few legitimate avenues open to them. It is this lamentable absence of opportunity that makes numbers banking 'the
472:
One theme of the film is the use of illegal or criminal activity for the black characters to achieve financial independence in a white-dominated
Depression Era southern community. The two characters, Dave and Blueboy, transition from positions of servitude as professional waiters, to positions of
464:, Dave is proud of creating a business independent of any white interference, and is willing to fight to maintain their success. By the end of the film, after Blueboy's death, Dave decides he will mimic Blueboy's tactics to manipulate the oppressive, racist system and attempt to evade conviction.
447:
There is a distinct difference between the two main characters and how they approach racism, interactions with whites and activism. Blueboy is from the older generation who works within inherent prejudices and discrimination to manipulate and evade confrontation, but also to succeed. When Dave
226:
among the poor and working class black community in the 1930s. Meanwhile, they evade and outsmart the KKK, corrupt white police officers, and deflect a hostile take-over from a nearby mafia gang. The movie is based on the 1969 novel of the same name by
456:. Here in this uneven but wildly energetic spoof on Westerns, Cleavon Little plays a black man who shows up in a white (and hostile) Old West community. As the town's new sheriff, he knows the only way he'll survive is by playing the role of a
522:
Generally the criticism for the film was positive, often noting how beautifully the design and costumes reflected the time period. Several reviewers commented on the portrayal of black characters. For example, film critic, Roger Ebert wrote
491:
cash for themselves, leaving only a graffiti wall as evidence for the courtroom. While the black characters only find true wealth and success through the numbers operation, the white characters profit mainly from robbing the black community.
527:
has a point to make: If blacks had to play a role to survive, they did - and they did survive." The
Philadelphia Daily Newspaper called it "a refreshing contrast to such loud and frantic black efforts as
231:, and is the only film directed by actor Raymond St. Jacques. It was filmed in Texas and received critical praise upon release for its stylish depiction of the South in the 1930s.
514:
in 1973 and included the songs, "I Walk with the Lord," "Blue's Last Walk," "Cracker Cops," "Blueboy's Holler," and "Moog
Montage: The Klan / No Way Out / Chase Down."
781:
698:
487:
standing in a suit. The positioning and costuming of this scene indicate the racial power structure between the two villains.
960:
935:
829:
757:
429:
411:
372:
that black people were integral in the behind-the-scenes production by placing apprentices in each key department.
950:
247:) had saved up enough money to quit their jobs as waiters and move to Arkansas with the intention of starting a
599:
396:
955:
940:
364:
945:
750:
Toms, coons, mulattoes, mammies, and bucks : an interpretive history of Blacks in
American films
796:
452:(1974). Donald Bogle writes, "The latter presented audiences with a new-style coon: a coon with a
407:
403:
460:; he does precisely that and is able not only to survive but to triumph too." Conversely, in
274:
240:
219:
86:
594:(1st University Press of Virginia ed.). Charlottesville: University Press of Virginia.
453:
298:
857:
8:
930:
536:
307:
268:
244:
215:
82:
42:
775:
360:
228:
64:
915:
835:
825:
763:
753:
605:
595:
222:, and is the story of two black waiters who team up in El Dorado, Arkansas to run a
148:
588:
449:
502:
has a soundtrack by composer Al Schuckman, with performances by blues musicians
511:
507:
483:
723:
924:
881:
767:
648:
624:
108:
839:
673:
609:
331:
252:
248:
223:
503:
368:
286:
280:
94:
90:
28:
909:
561:
211:
858:"Book of Numbers Movie Review & Film Summary (1973) | Roger Ebert"
256:
414:. Statements consisting only of original research should be removed.
530:
699:"Freda Payne Talks All That Jazz [INTERVIEW] - EBONY"
566:, Raymond St Jacques, Philip Michael Thomas, Freda Payne
824:(1st ed.). Austin: University of Texas Press.
587:
922:
752:(Updated and expanded 5th ed.). New York.
467:
239:The film begins with narration by Dave Greene (
292:Willie Washington Jr. as "Makepeace" Johnson
585:
780:: CS1 maint: location missing publisher (
27:
622:
430:Learn how and when to remove this message
819:
794:
322:Temie Mae Williams as Sister Clara Goode
559:
442:
923:
747:
851:
849:
581:
579:
625:"Screen Exploding With Black Talent"
555:
553:
379:
674:"Freda: Visual Dynamo, Proper Lady"
560:Jacques, Raymond St. (1979-01-13),
243:) about how he and Blueboy Harris (
13:
846:
576:
14:
972:
903:
855:
797:"Pharr, Robert Deane (1916–1992)"
550:
384:
355:The film is based on the novel,
328:Queen Esther Gent as Mrs. Booker
325:Charles F. Elyston as Mr. Booker
16:1973 film by Raymond St. Jacques
882:"'Numbers:' A Nice Black Movie"
874:
820:Donalson, Melvin Burke (2003).
813:
623:Tillotson, Jery (24 Jun 1973).
346:Reginald T. Dorsey as "Junebug"
788:
741:
716:
691:
666:
641:
616:
1:
649:"Alleged robber's car stalls"
543:
494:
350:
316:Gilbert Green as Luis Antoine
961:English-language crime films
936:1970s English-language films
822:Black directors in Hollywood
801:www.encyclopediavirginia.org
748:Donald, Bogle (2016-02-25).
586:Deane Pharr, Robert (2001).
517:
468:Criminal activity and racism
365:James Braddock and Joe Louis
304:C.L. Williams as "Blip Blip"
7:
510:. It was released by Brut/
410:the claims made and adding
10:
977:
728:Alexandria Daily Town Talk
724:"Black Actors Form Group"
629:The Montgomery Advertiser
375:
214:directed by and starring
195:
187:
177:
154:
144:
130:
122:
114:
104:
78:
70:
56:
48:
38:
33:Theatrical release poster
26:
21:
337:Chiquita Jackson as Didi
313:Jerry Leon as Joe Gaines
163:April 11, 1973
886:Philadelphia Daily News
340:Katie Peters as "Honey"
262:
234:
951:Embassy Pictures films
795:Roberts, III, John J.
480:
319:Frank De Sal as Carlos
475:
343:Pat Peterson as Becky
295:Doug Finell as "Eggy"
275:Philip Michael Thomas
241:Philip Michael Thomas
220:AVCO Embassy Pictures
218:. It was produced by
149:AVCO Embassy Pictures
87:Philip Michael Thomas
956:1970s American films
941:American crime films
454:double consciousness
443:Double consciousness
367:from 1937. Actress
299:Sterling St. Jacques
590:The book of numbers
357:The Book of Numbers
271:as "Blueboy" Harris
269:Raymond St. Jacques
245:Raymond St. Jacques
216:Raymond St. Jacques
210:is a 1973 American
83:Raymond St. Jacques
74:Raymond St. Jacques
43:Raymond St. Jacques
862:www.rogerebert.com
678:Detroit Free Press
395:possibly contains
361:Robert Deane Pharr
310:as Billy "Bowlegs"
289:as "Pigmeat" Goins
229:Robert Deane Pharr
65:Robert Deane Pharr
482:Similar to other
458:dumb black nigger
440:
439:
432:
397:original research
203:
202:
968:
946:1973 crime films
897:
896:
894:
893:
878:
872:
871:
869:
868:
853:
844:
843:
817:
811:
810:
808:
807:
792:
786:
785:
779:
771:
745:
739:
738:
736:
735:
720:
714:
713:
711:
710:
705:. 11 August 2014
695:
689:
688:
686:
685:
670:
664:
663:
661:
660:
645:
639:
638:
636:
635:
620:
614:
613:
593:
583:
574:
573:
572:
571:
557:
435:
428:
424:
421:
415:
412:inline citations
388:
387:
380:
334:as Georgia Brown
308:D'Urville Martin
170:
168:
139:Brut Productions
118:Irving Rosenblum
31:
19:
18:
976:
975:
971:
970:
969:
967:
966:
965:
921:
920:
911:Book of Numbers
906:
901:
900:
891:
889:
888:. 19 April 1973
880:
879:
875:
866:
864:
854:
847:
832:
818:
814:
805:
803:
793:
789:
773:
772:
760:
746:
742:
733:
731:
722:
721:
717:
708:
706:
697:
696:
692:
683:
681:
672:
671:
667:
658:
656:
647:
646:
642:
633:
631:
621:
617:
602:
584:
577:
569:
567:
563:Book of Numbers
558:
551:
546:
525:Book of Numbers
520:
500:Book of Numbers
497:
470:
462:Book of Numbers
450:Blazing Saddles
445:
436:
425:
419:
416:
401:
389:
385:
378:
353:
265:
237:
207:Book of Numbers
180:
173:
166:
164:
157:
140:
135:
133:
99:
97:
93:
89:
85:
61:Book of Numbers
34:
22:Book of Numbers
17:
12:
11:
5:
974:
964:
963:
958:
953:
948:
943:
938:
933:
919:
918:
905:
904:External links
902:
899:
898:
873:
856:Ebert, Roger.
845:
830:
812:
787:
758:
740:
715:
690:
665:
653:The Miami News
640:
615:
600:
575:
548:
547:
545:
542:
519:
516:
512:Buddah Records
508:Brownie McGhee
496:
493:
484:blaxploitation
469:
466:
444:
441:
438:
437:
392:
390:
383:
377:
374:
352:
349:
348:
347:
344:
341:
338:
335:
329:
326:
323:
320:
317:
314:
311:
305:
302:
301:as "Kid Flick"
296:
293:
290:
284:
283:as Kelly Simms
278:
272:
264:
261:
249:numbers racket
236:
233:
224:numbers racket
201:
200:
197:
193:
192:
189:
185:
184:
181:
178:
175:
174:
172:
171:
160:
158:
155:
152:
151:
146:
145:Distributed by
142:
141:
138:
136:
131:
128:
127:
124:
120:
119:
116:
112:
111:
106:
105:Cinematography
102:
101:
80:
76:
75:
72:
68:
67:
58:
54:
53:
50:
46:
45:
40:
36:
35:
32:
24:
23:
15:
9:
6:
4:
3:
2:
973:
962:
959:
957:
954:
952:
949:
947:
944:
942:
939:
937:
934:
932:
929:
928:
926:
917:
913:
912:
908:
907:
887:
883:
877:
863:
859:
852:
850:
841:
837:
833:
831:9780292701786
827:
823:
816:
802:
798:
791:
783:
777:
769:
765:
761:
759:9780826429537
755:
751:
744:
729:
725:
719:
704:
703:www.ebony.com
700:
694:
680:. 14 Jul 1972
679:
675:
669:
655:. 27 May 1972
654:
650:
644:
630:
626:
619:
611:
607:
603:
597:
592:
591:
582:
580:
565:
564:
556:
554:
549:
541:
539:
538:
533:
532:
526:
515:
513:
509:
505:
501:
492:
488:
485:
479:
474:
465:
463:
459:
455:
451:
434:
431:
423:
420:December 2017
413:
409:
405:
399:
398:
393:This section
391:
382:
381:
373:
370:
366:
362:
358:
345:
342:
339:
336:
333:
330:
327:
324:
321:
318:
315:
312:
309:
306:
303:
300:
297:
294:
291:
288:
285:
282:
279:
277:as Dave Green
276:
273:
270:
267:
266:
260:
258:
254:
250:
246:
242:
232:
230:
225:
221:
217:
213:
209:
208:
198:
194:
191:United States
190:
186:
182:
176:
162:
161:
159:
153:
150:
147:
143:
137:
129:
125:
121:
117:
113:
110:
109:Gayne Rescher
107:
103:
98:Gilbert Green
96:
92:
88:
84:
81:
77:
73:
69:
66:
62:
59:
55:
52:Larry Spiegel
51:
47:
44:
41:
37:
30:
25:
20:
910:
890:. Retrieved
885:
876:
865:. Retrieved
861:
821:
815:
804:. Retrieved
800:
790:
749:
743:
732:. Retrieved
730:. 4 May 1972
727:
718:
707:. Retrieved
702:
693:
682:. Retrieved
677:
668:
657:. Retrieved
652:
643:
632:. Retrieved
628:
618:
589:
568:, retrieved
562:
537:Black Caesar
535:
529:
524:
521:
499:
498:
489:
481:
476:
471:
461:
457:
446:
426:
417:
394:
356:
354:
332:Irma P. Hall
253:Ku Klux Klan
238:
206:
205:
204:
179:Running time
156:Release date
126:Al Schackman
100:Frank De Sal
60:
504:Sonny Terry
369:Freda Payne
287:Hope Clarke
281:Freda Payne
95:Hope Clarke
91:Freda Payne
71:Produced by
39:Directed by
931:1973 films
925:Categories
892:2017-12-08
867:2017-12-04
806:2017-12-08
734:2017-12-08
709:2017-12-08
684:2017-12-08
659:2017-12-08
634:2017-12-08
601:0813920469
570:2017-12-08
544:References
495:Soundtrack
404:improve it
351:Background
212:crime film
183:81 minutes
167:1973-04-11
132:Production
49:Written by
776:cite book
768:944077309
518:Reception
408:verifying
115:Edited by
840:55731956
610:45172013
531:The Mack
196:Language
123:Music by
79:Starring
57:Based on
402:Please
199:English
188:Country
165: (
134:company
838:
828:
766:
756:
608:
598:
376:Themes
359:, by
916:IMDb
836:OCLC
826:ISBN
782:link
764:OCLC
754:ISBN
606:OCLC
596:ISBN
534:and
506:and
263:Cast
235:Plot
914:at
540:."
406:by
257:Tom
63:by
927::
884:.
860:.
848:^
834:.
799:.
778:}}
774:{{
762:.
726:.
701:.
676:.
651:.
627:.
604:.
578:^
552:^
895:.
870:.
842:.
809:.
784:)
770:.
737:.
712:.
687:.
662:.
637:.
612:.
523:"
433:)
427:(
422:)
418:(
400:.
169:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.