Book of Numbers (film)
| Company type | Film production and distribution company |
|---|---|
| Industry | Film |
| Headquarters | United States |
| Products | Motion pictures |
Book of Numbers is a 1973 American crime film directed by and featuring Raymond St. Jacques in the lead role. Produced under the banner of AVCO Embassy Pictures, the narrative centers on two African American waiters who initiate a numbers racket during the 1930s in El Dorado, Arkansas, targeting the local black working-class community. They face opposition from the Ku Klux Klan, corrupt law enforcement officers, and a competing mafia faction. Adapted from Robert Deane Pharr's 1969 novel, this film represents St. Jacques' only directorial credit. Filming took place in Texas, with critics commending its stylish depiction of Southern life during that period.
Plot
The story begins with Dave Greene (Philip Michael Thomas) providing narration about how he and Blueboy Harris (Raymond St. Jacques) pooled their savings to leave their waiter positions and launch a numbers operation in Arkansas. The narrative then shifts into a flashback portraying their illicit lottery business managed out of a hair salon, which rapidly becomes lucrative despite interference from mafia leader Luis Antoine (Gilbert Greene) and his enforcer Joe Gaines (Jerry Leon). After refusing to share their earnings, Dave and Blueboy survive a violent gunfight.
Following the theft of their numbers ledgers by rivals, Dave’s team disguises themselves as KKK members to reclaim them, unintentionally clashing with the actual Klan in a tense getaway. Subsequently, a corrupt police raid results in Blueboy's arrest; however, he cleverly avoids conviction by exploiting racist prejudices before the judge—a move that surprises Dave but safeguards their enterprise.
As tensions rise between the partners, Blueboy returns in time to protect Dave during another mafia assault but ultimately sacrifices his life. At Blueboy’s funeral, Dave contemplates his mentor’s teachings about persistence and legacy preservation. He commits to continuing the numbers business by employing similar courtroom tactics to evade law enforcement while expanding their reach.
Cast
- Raymond St. Jacques as "Blueboy" Harris
- Philip Michael Thomas as Dave Green
- Freda Payne as Kelly Simms
- Hope Clarke as "Pigmeat" Goins
- Willie Washington Jr. as "Makepeace" Johnson
- Doug Finell as "Eggy"
- Sterling St. Jacques as "Kid Flick"
- C.L. Williams as "Blip Blip"
- D'Urville Martin as Billy "Bowlegs"
- Jerry Leon as Joe Gaines
- Gilbert Green as Luis Antoine
- Frank De Sal as Carlos
- Temie Mae Williams as Sister Clara Goode
- Charles F. Elyston as Mr. Booker
- Queen Esther Gent as Mrs. Booker
- Irma P. Hall as Georgia Brown
- Chiquita Jackson as Didi
- Katie Peters as "Honey"
- Pat Peterson as Becky
- Reginald T. Dorsey as "Junebug"
Background
This motion picture draws its inspiration from Robert Deane Pharr's 1969 novel The Book of Numbers. Production took place near Dallas, Texas, which stood in for rural Arkansas during the 1930s. Securing initial financing proved difficult for the project. During filming in 1972, director Raymond St. Jacques experienced a burglary at his Bel Air residence. The film features a scene where characters wager on the 1937 boxing bout between James Braddock and Joe Louis. Actress Freda Payne recounted her unexpected casting and described the set environment as hot and humid yet enjoyable. St. Jacques envisioned this film as the first installment of a series emphasizing African American narratives, ensuring substantial black participation behind the camera by appointing trainees to key production positions.
Dual consciousness
The two protagonists exhibit contrasting responses to racism and activism. Blueboy, representing an older generation, copes with systemic prejudice by skillfully maneuvering and steering clear of direct conflict to achieve success. When Dave criticizes Blueboy’s courtroom demeanor for making white people perceive them as fools, Blueboy retorts, "Son, their opinion doesn’t matter. Don’t you realize earning the crackers’ respect doesn’t make us any less niggers to them?!" On the other hand, the younger Dave is determined to assert his dignity and resist racial oppression. Their interaction resembles a father-son relationship, with Blueboy explaining that his methods were designed to shield younger individuals: "Me? My kind, we’re done. But you can’t do it locked up." Blueboy’s approach entails pretending ignorance to manipulate the white judge’s prejudices and avoid jail time—a survival tactic reminiscent of scenes in Blazing Saddles (1974), where success depends on embodying racial stereotypes. In contrast, Dave takes pride in establishing a business independent of white control and is prepared to defend it vigorously. Following Blueboy’s passing, Dave adopts similar strategies to navigate systemic oppression.
Crime and racial oppression
The narrative examines how involvement in illegal enterprises allowed black characters to attain financial autonomy within a predominantly white Depression-era southern setting. Transitioning from waitstaff roles, Dave and Blueboy rise to lead the numbers racket, distributing wealth among their workers, which is evident in their improved clothing and ownership of a spacious residence featuring recreational areas. The film underscores the scarcity of legitimate economic opportunities for African Americans at the time, implying that illicit activities were often the sole route to prosperity. Nonetheless, the director’s intention was not to celebrate criminality but rather to portray a community striving for economic empowerment and self-sufficiency.
Playwright Jabari Asim observes, "Dave, a young man with an instinct for money, and Blueboy, a consummate professional if ever there was one, faced few lawful options. Numbers banking was ‘the only business in America open to every enterprising Negro.’ Their achievements revitalized the community... accomplishing success for themselves and their people without groveling before ‘the Man.’"
The story also introduces a white mob leader, Luis Antoine, who commands a black subordinate named Gaines—illustrating racial power structures through costume design and scene composition. Additionally, a corrupt white police force exploits the black community through extortion and theft; for instance, after raiding a salon, officers confiscate all cash for personal gain, leaving only graffiti as evidence in court. While black characters accumulate wealth via the numbers game, white characters primarily profit by robbing them.
Soundtrack
Book of Numbers features music composed by Al Schuckman and performed by blues musicians Sonny Terry and Brownie McGhee. Issued by Brut/Buddah Records in 1973, the soundtrack includes pieces such as "I Walk with the Lord," "Blue's Last Walk," and "Moog Montage: The Klan / No Way Out / Chase Down."
Reception
The movie was met with largely favorable critiques, particularly commended for its faithful representation through period-accurate set design and costumes. Reviewers emphasized its subtle and complex depiction of African American characters; Roger Ebert remarked, "Book of Numbers conveys a significant message: African Americans adapted roles as a means of survival—and indeed, they endured." The Philadelphia Daily News characterized it as "a welcome departure from the loud and hectic portrayals found in films like The Mack and Black Caesar."