It’s easy to forget that before the era of the high-octane blockbuster, movies actually breathed. They took their time. They sat with you. Honestly, if you look at the 1973 film A Warm December, you aren’t just looking at a romance; you’re looking at a time capsule of Black excellence and vulnerability directed by the legendary Sidney Poitier himself. Most people remember Poitier for Guess Who’s Coming to Dinner or In the Heat of the Night, but this film? It’s different. It’s quiet. It’s deeply human.
The plot sounds like a standard melodrama on paper. An American doctor, Matt Younger, takes his daughter to London and falls for a mysterious, beautiful woman named Catherine. But here is where it gets heavy. Catherine, played by the luminous Esther Anderson, isn't just playing hard to get. She’s living with sickle cell anemia.
Think about that for a second. In 1973, how many films were tackling the reality of genetic blood disorders while maintaining the dignity of a high-stakes romance? Not many.
What Most People Get Wrong About A Warm December
People often dismiss this movie as a "Black Love Story." You know, like the Ryan O’Neal and Ali MacGraw tearjerker. But that’s a lazy comparison. While Love Story focuses on the tragedy of the "dying girl" trope, A Warm December is fundamentally about the agency of the person who is ill. Catherine isn't a passive victim. She’s a niece of an African diplomat. She’s sophisticated. She’s politically connected.
Poitier was making a statement here. He didn't just want to show Black people in love; he wanted to show them in positions of global influence and intellectual depth. The scenery in London isn’t just a backdrop—it’s a character. You see Matt and Catherine navigating art galleries and high-end receptions. It was a radical act to present Black life this way in the early seventies, far removed from the "blaxploitation" genre that was dominating the box office at the time with films like Shaft or Super Fly.
Some critics at the time found it too "polished" or "bourgeois." They were wrong.
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Actually, the polish was the point. Poitier was tired of the industry only seeing one side of the Black experience. He wanted to show the warmth. He wanted to show the December of a life being lived to the absolute fullest.
The Complexity of Sickle Cell in Cinema
Let's get into the weeds on the medical aspect because the movie actually handles it with a surprising amount of grace for the era. Sickle cell anemia is a condition that primarily affects people of African, Mediterranean, and Middle Eastern descent. In the film, Catherine’s struggle isn't used for cheap "shock" value. It’s a looming shadow that dictates how she loves.
She pushes Matt away because she knows her time is finite. That’s a real, lived experience for many folks dealing with chronic illness. The fear of "burdening" a partner. It’s heavy stuff. Matt, being a doctor, represents the rational side of the equation, but even his medical knowledge can't fix the situation. It’s one of those rare moments in Poitier’s filmography where his character is truly powerless. He can’t talk his way out of it. He can’t use logic to solve it. He just has to feel it.
Why the Soundtracks of the 70s Hit Differently
You can't talk about A Warm December without mentioning the music. The vibe is set by Coleridge-Taylor Perkinson. It’s lush. It’s soulful. There’s a specific scene involving a performance by Letta Mbulu that just stops the movie in its tracks. It’s a moment of pure cultural celebration.
Movies today are often over-scored. They tell you exactly how to feel every second. But in this film, the silence is just as important as the music. You watch Poitier’s face—the way he watches Catherine—and you don't need a soaring violin to tell you he’s terrified of losing her.
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A Masterclass in Directing
Poitier was behind the camera for this one, and his eye for detail is sharp. He uses the London locations—the museums, the rainy streets, the cozy apartments—to create a sense of intimacy that feels almost claustrophobic at times. It’s a "warm" movie, as the title suggests, but there’s a chill underneath it. The "December" refers to the end of a cycle.
He shoots Esther Anderson with such reverence. It’s clear he wanted the audience to fall in love with her just as Matt does. Anderson, a Jamaican actress and filmmaker in her own right, brings a regal quality to Catherine. She isn't just a love interest; she’s a woman with a heritage and a mission.
Interestingly, Anderson was actually involved in the development of the story. She wasn't just hired talent. She helped shape the character’s African roots, ensuring that the portrayal of the diplomat’s family felt authentic and not like a Hollywood caricature.
The Legacy of a "Forgotten" Classic
Why don't we talk about this movie more? Honestly, it might be because it doesn't fit into a neat box. It’s not a protest film. It’s not an action flick. It’s a sophisticated, mid-budget romantic drama. In the 2020s, these types of movies have mostly migrated to streaming services or disappeared entirely.
But there’s a reason it still matters.
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It matters because it shows a version of Black life that is defined by joy and grace even in the face of mortality. It’s about the "warmth" you find in the middle of winter.
If you watch it now, you might find the pacing a bit slow. Stick with it. The payoff isn't in a big plot twist or an explosive ending. The payoff is the feeling you get when the credits roll—a sort of bittersweet ache that makes you want to call someone you love.
Real-World Takeaways and How to Watch
If you are looking to dive into Poitier’s directorial work, A Warm December is the perfect starting point, especially if you pair it with Buck and the Preacher. It shows his range.
- Seek out the restored versions: The colors in this film—the deep browns, the vibrant greens of the African attire—deserve to be seen in high definition. Many older DVD rips don't do the cinematography justice.
- Context is everything: Before watching, read up on the history of sickle cell advocacy in the 1970s. The Black Panther Party, for instance, was instrumental in setting up testing clinics during this era. Knowing this adds a layer of social relevance to Catherine’s character.
- Listen to the Letta Mbulu tracks: Even if you don't watch the whole movie, the song "Nonqonqo" is a masterpiece of South African musical influence that elevates the entire production.
Ultimately, the film asks a very simple question: Is a short time spent in warmth better than a long life spent in the cold? The answer the movie gives is a resounding, beautiful yes.
To truly appreciate the nuance of Poitier’s direction, pay attention to the scenes where Matt Younger is alone with his daughter. These moments ground the film. They remind us that Matt isn't just a lover; he’s a father trying to navigate his own grief and his child’s future. It’s a multi-layered performance that often gets overshadowed by his more "confrontational" roles, but it is no less powerful.
Next time you’re scrolling through a streaming service and everything looks like a CGI-heavy explosion, look for this. Look for the quiet London streets. Look for the warmth. You won't regret it.
Actionable Next Steps:
- Check availability: Look for the film on platforms like Amazon Prime, Apple TV, or specialized archives like the Criterion Channel, which often rotates Poitier’s directorial efforts.
- Compare and Contrast: Watch this back-to-back with Love Story (1970). Notice the differences in how the female lead's illness is treated—one as a tragic plot device, the other as a complex part of a woman's identity and heritage.
- Explore the Soundtrack: Find the Coleridge-Taylor Perkinson score on vinyl or digital streaming. It’s a seminal example of 70s orchestral soul that stands alone as a great listening experience.