Interesteg What makes it different from others?

Sameer Callahan It really made me laugh, but for some moments I was tearing up because I could relate so much.

Sarita Rafferty There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

Winifred The movie is made so realistic it has a lot of that WoW feeling at the right moments and never tooo over the top. the suspense is done so well and the emotion is felt. Very well put together with the music and all.

lasttimeisaw 1977 was a banner year for Herbert Ross, two pictures he directed are among Oscar's five BEST PICTURE nominees, one is THE GOODBYE GIRL (1977), with 5 nominations and 1 win for Richard Dreyfuss and another is this one, the balletic drama, THE TURNING POINT, received a whopping 11 nominations but went home empty-handed (a record later shared with Steven Spielberg's THE COLOR PURPLE 1985), and in hindsight, becomes the most overachiever apropos of Oscar nominations. DeeDee (MacLaine) and Emma (Bancroft) go way back when they are ballerinas-and-best-friends, the former jilted her budding career and got married with dancer Wayne (Skerritt) after she was preggy just when she and Emma were both up for the cardinal role in Anna Karenina. Due to DeeDee's dropout, Emma procured the role and has remained as a prima ballerina for the company ever since, meantime DeeDee and Wayne moved to Oklahoma City and run a dance studio, raising their three kids. Years later, when DeeDee's firstborn Emilia (Browne) is old enough to be picked up by the same dance company, do DeeDee and Emma's separated life orbits begin to converge, Emma has been devoted herself entirely to her career, unmarried and childless, what she has achieved is quite something in this feeding-frenzy and extremely ageism line-of-business, but over-the-hill is a word she cannot temporize any longer at that turning point, she confides to DeeDee that her body has compromised even though her spirit is still high on dancing. As for DeeDee, all these years she has been mulling over whether her decision of quitting is the right choice, and one particularly pestering thought that Emma might have intentionally advised her to get married when she was pregnant with Emilia, so that Emma could snatch that role which paved the way of her subsequent ascendance to the top tier, and pathologically wonders whether she was good enough to be picked over Emma if she had stayed. Life doesn't offer us regret pills, and there is no what-ifs in reality, the film at its heart is a benevolent melodrama carrying an earnest women-skewing agenda: the family-or-career option, one can only choose one and fantasize the other, as most things in our lives, either option has its rewards and disappointment, if you get too possessed with the other option you didn't choose, there will only be torment and frustration, that is what differentiates DeeDee and Emma and grants the latter a more laudable characteristic arc, unlike DeeDee's self-inflicted doubt of her unfulfilled dream (which leads her to make several wrong choices in life too), Emma is decisive and not lingers on the past, she exemplifies a liberated woman who is unbridled by conventionality, she knows crystal clear what she wants, and is not incapable of live down the gnawing dissatisfaction, this mirrored dichotomy - both live the life the other has forsaken, is superbly deployed as a conceit to draw out stellar performances from Ms. Bancroft and Ms. MacLaine, who can ginger up mediocre fodder into entrancing emotional powerhouse, culminating in their unapologetically campy cat- fight, it is those moments remind us why we are so hopelessly in love with melodramas, because watching thespians go gung-ho like that induces endogenous thrill and pleasure in spite of what drives them are usually tales of woes. Both ladies are Oscar-nominated, but it is Bancroft who gets the upper hand with a more interesting character and she radiates with undivided warmth and empathy (also, she knows how to fake hiccups.), but she has her feet of clay, notwithstanding that she is strikingly emaciated, her comportment and posture is not convincing as a real seasoned dancer. (The film cunningly bypasses any real terpsichorean arrangement for her aside from several default exercise scenes.)On the downside, the subplot surrounding Emilia's ill-fated romance with the dancer-cum-playboy Yuri (Baryshnikov) lacks any traction apart from the fact that both are excellent dancing pros, a feat so magnificently beguiling that it spawned two coattail Oscar nominations for both first-timers, a stark case indicates that Oscar is often less perspicacious than we think it is, another horrendous one is Jennifer Hudson in Bill Condon's DREAMGIRLS (2006), a terrific singer but very broad-stroke acting bent through and through, and she won! Both Tom Skerritt and Martha Scott (as the money- seeking head of the company) bring out meatier presences and are far worthier picks if the Academy was really bent on giving some subservient nominations. For my personal taste, THE TURNING POINT can be easily ensconced in my guilty pleasure list, but deemed with a more critical eye, it still can be worshiped as an eloquent character drama unsparingly allows its players to shine over the unostentatious cinematic techniques, and a synesthetic feast for ballet aficionados.

evanston_dad Shirley MacLaine and Anne Bancroft play one-time ballerina rivals in this pointless sudser from 1977. MacLaine has a loving husband and comfy home, but gave up her career; Bancroft has the career, but no one to share it with. Both re-meet when MacLaine's daughter becomes a ballerina and struggle with feelings of what could have been if each had pursued the life of the other. Congratulations if you can muster up the energy to care about any of this, because I sure as hell couldn't.The film features an Academy Award nominated performance by Mikhail Baryshnikov, whose nomination was for his dancing, not his acting, and another wonderful low-key performance from the shamelessly underrated Tom Skerritt as MacLaine's husband. The high point of the film is when MacLaine and Bancroft let loose on one another in a good old fashioned hair-pulling, face-scratching cat fight. The rest is a dull bore.Grade: C-

artisticengineer First things first; this movie takes place within the American Ballet Theater. The name "American Ballet" was chosen by George Balanchine- a white Russian émigré to the United States- back in the 1930s when it was indeed probably the only major ballet company within the United States. However, their use of this term now is certainly misleading. I believe an alternative, and much more descriptive name, is "New York City Ballet"; that may in fact be the name they are legally required to use now due expiration of the original copyright though I would not swear to it. They are certainly very good at what they do; but, there are quite a few ballet companies within the United States nowadays and they are just as American as the group in New York City. And, probably just as good. Their is an irony here in that the movie starts, for some unfathomable reason, in Oklahoma City- which is, I guess, meant to show a place as far away from the "Big City" ballet as one can get. Perhaps in 1977 it was, but nowadays Oklahoma City itself has a very good ballet company. The only major reason why I do not consider the OKC ballet company as good as the one in New York City is due to the shortage of funds they have encountered recently. The OKC ballet school is pretty good- from what I have heard. Anyway, the New York City Ballet is a top notch outfit but it is certainly NOT the only major ballet company in the United States-despite what this movie implies. Okay, now that I have cleared this up I will now comment on this movie.It is a "must see" movie for people who like ballet and even other major dance forms. There are a few problems- one is that Tom Skerritt plays the husband of a former ballerina of the company; himself a former "danseur" with the company. Yet, as good an actor as Mr. Skerritt is, I find his performance in this movie far from convincing in this manner. Their son is shown as an up and coming dancer; also with the company yet he disappears midway into the movie. What happened to him? I know the daughter is primary point of interest, but what happened to her brother?? Other than these weaknesses it is a very good movie- though it is somewhat surprising that it received 11 Academy Award nominations. Anne Bancroft was fantastic. In real life she never danced professionally nor took lessons yet she did a great job portraying an over-the-hill prima ballerina (possibly based on Margot Fonteyn). Shirley McClain- who did dance a lot - ironically is never seen dancing or even prepared for dancing. This is a "chick flick"- no doubt about it, but if you are male and interested in the behind the scenes of a ballet company you will find this interesting also. Speaking of males- Mihail Baryshnikov comes close to stealing the show from the female leads. This movie, along with "The Nutcracker" that he performed later in 1977, was the "turning point" in his career. Well worth seeing by anybody of either gender for this alone!!

CGMAETC As ballet movies go, this is one of the better ones. It really captures the essence of a company: the rising star, the oversexed male dancer, diva choreographers, budget-conscious artistic directors, and the unique sadness that is the aging ballerina. MacClain and Bancroft deliver their contrived dialog with expertise (even though it appears they did a lot of ADR because the dialog seems to be dubbed) and they handle their relative roles with ease. Bancroft plays the aging diva with perfect grandness and MacClaine is great as the regretful mother. I can overlook the fact that a summer-study student, no matter how brilliant she is (and the young lady here is a highly talented dancer) WOULD NOT get a lead, let alone a solo number in her first year, but the plot is a bit thin, yet it makes it's point: the grass is not always greener on the other side of the stage. The best part of this movie is the dancing, of course. Misha is poetry in tights, always exhilarating and breathtaking. Though the movie was made in the 70s, it still rings true today in the world of ballet.