Logging on to the IMDb to rate this movie, I was surprised to find that I'd previously rated it some years ago, giving it a perhaps-harsh 4/10. That's the beauty of this later Poitier endeavour... it's so forgettable you can see it more than once and each time it's like the first.
That's not to say that the languid pace and TV movie direction by Poitier (far more effective in front of the camera than behind it, sadly) make this a film without merit. In its layered depiction of black people on the screen, Poitier's second England movie may not be the equal of the first, but has plenty of things to say... even if it does say those things in a relaxed, heavily reflective manner.
The real problem with the film is that as a love story with a tragic twist it's incredibly staid, almost sterile. Chemistry is not flowing from the screen here, even for the relatively passive time in which it was made. And such a stiff depiction of romance is only expounded by the presence of Yvette Curtis as Poitier's daughter. While okay at general lines, she's unable to emote, and scenes where she's supposedly concerned over whether Catherine lives or dies see her looking like she's wondering to have jam or just butter on her morning toast.
Six years before this Poitier was the biggest box office star in the world, having had three huge hits in 1967. After this it's directing and co-starring with Bill Cosby in three so-so comedies and appearing in a Michael Caine thriller, then acting retirement. Such a drastic change in his standing is remarkable.
Despite Poitier's much later return from retirement (and later, sad decline into TV movie actor... what a waste) A Warm December marks one of his final last gasps as a major force. As a Sidney Poitier work then it's probably not even in the top 15 of his films that you should make a point of seeing. But, if you've got an afternoon when you're not too busy, A Warm December will help to pass the time quite pleasantly... if not so memorably.
That's not to say that the languid pace and TV movie direction by Poitier (far more effective in front of the camera than behind it, sadly) make this a film without merit. In its layered depiction of black people on the screen, Poitier's second England movie may not be the equal of the first, but has plenty of things to say... even if it does say those things in a relaxed, heavily reflective manner.
The real problem with the film is that as a love story with a tragic twist it's incredibly staid, almost sterile. Chemistry is not flowing from the screen here, even for the relatively passive time in which it was made. And such a stiff depiction of romance is only expounded by the presence of Yvette Curtis as Poitier's daughter. While okay at general lines, she's unable to emote, and scenes where she's supposedly concerned over whether Catherine lives or dies see her looking like she's wondering to have jam or just butter on her morning toast.
Six years before this Poitier was the biggest box office star in the world, having had three huge hits in 1967. After this it's directing and co-starring with Bill Cosby in three so-so comedies and appearing in a Michael Caine thriller, then acting retirement. Such a drastic change in his standing is remarkable.
Despite Poitier's much later return from retirement (and later, sad decline into TV movie actor... what a waste) A Warm December marks one of his final last gasps as a major force. As a Sidney Poitier work then it's probably not even in the top 15 of his films that you should make a point of seeing. But, if you've got an afternoon when you're not too busy, A Warm December will help to pass the time quite pleasantly... if not so memorably.