Copyright 1 November 1952 by Paramount Pictures Corp. New York opening at the Globe: 15 November 1952. U.S. release: November 1952. U.K. release: 1 December 1952. Australian release: 21 November 1952. Sydney opening at the Prince Edward: 21 November 1952 (ran 3 weeks). 7,797 feet. 86 minutes.SYNOPSIS: John Conroy, an honest, aggressive lawyer and politician, is head of a special committee investigating organized crime in a large Midwestern city. His friend, investigative reporter Jerry McKibbon, is shocked to discover that Conroy's father, Matt, was once a policeman on the syndicate payroll; but McKibbon decides not to tell Conroy about his father. As the committee puts pressure on the syndicate chieftain, Eichelberger, the gangsters decide that Matt Conroy must be killed.NOTES: Although the film was only moderately successful in America and England, it proved to have an astonishing second wind in Australia which made it one of Paramount's top money-earners of the 1950s. The initial Sydney season at the plush Prince Edward had to be pulled for the pre-set engagement of The Greatest Show On Earth. On move-over to the downtown Lyric, a second release grind house, the film attracted such consistent turnaway business, it became Paramount's best sleeper of the decade, being constantly revived and re-circulated. Prints of the film were never idle and even the front-of-house lobby cards and posters eventually wore out. The Lyric itself re-presented the film "by popular demand" no less than seven or eight times.COMMENT: "Turning Point" is a crime drama that was totally under-rated by half-asleep professional critics (except in Australia). Written by Warren Duff and Horace McCoy, it was photographed and directed in an imaginative film noir style that made most effective use of its natural urban locations (in Los Angeles). Realistic sound is used to augment some tingling action sequences, handled with superb control of crowds and effects. In some ways, the story parallels The Enforcer (1951), but Dieterle's direction is beholden to no-one. Although it does use the real backgrounds beloved of the semi-documentary artists, this is no mere reportage approach. Dieterle has directed not only with style, polish and finesse, but at a crackling pace.Oddly, the script has many subtleties which censors didn't notice at the time (although wide-awake audiences did, which would partly account for the film's tremendous popularity, particularly in Australia): Holden staying the night in Smith's apartment, for example; but even more startlingly, the explicit identification of the crime czar (surely the most vicious ever to appear on celluloid) as Jewish (his name is Eichelberger, and he gets most of his income from usurious money-lending) and of his heroic opponent as a Gentile (at one stage our hero even pointedly asks for a ham sandwich).The principals turn in most believable and arresting performances which just manage to keep a few tenuous steps ahead of the extremely able support cast led by Tom Tully, Ed Begley and as thuggy a group of gangsters as any film noir fan could wish: Don Porter, Ted De Corsia, Neville Brand. An exceptional cameo cast includes Ralph Sanford as the Detroit contact in the pool-room, Howard Freeman, Ray Teal, Carolyn Jones and Jay Adler.

I somewhat enjoyed this movie at the time, mainly because of its ballet theme, and it certainly boasts beautiful dance sequences with real life ballerinas, Leslie Browne and Mikhail Baryshnikov. However, the characters are pretty stereotypical and it's all basically middle aged naval gazing as to what life might have been and the road not taken.The story revolves around two women who have chosen disparate life paths, both revolving around ballet. Deedee left the dance company years ago to marry a fellow dancer & raise a family, but now runs a ballet school in Oklahoma. Emma remained with the company and became a prima ballerina, but at the expense of any family life, and her dance career is now waning. Deedee's daughter, Emilia, is also a ballerina. When Emma takes her on as sort of a protégé and tries to advance her position within the dance company, Deedee feels resentful.The cast here is certainly competent. Shirley MacLaine (Deedee) and Anne Bancroft (Emma) are both convincing as the two very different women. Tom Skerritt plays Deedee's husband, Wayne, though I prefer his interaction with Shirley MacLaine in their later movie, Steel Magnolias. The young ballerinas, Browne (Emilia) and Baryshnikov (Yuri)...well, their main function is to dance. Their romance proved of no interest to me whatsoever. I found Emilia's drunken scene silly, and noted another's comment that in a real life dance company, she'd be severely reprimanded for this.This movie has some pretty stereotypical jealousies, looking longingly at the life you don't have and wondering if you made the wrong choices way back when. Years earlier, Deedee & Emma were competing for a lead role in their dance company when Deedee became pregnant & married, leaving Emma with the role and a successful dance career. Now they are both looking back, Deedee jealous of Emma's star career and Emma envying Deedee's family (husband & three children) while she has only her dogs for company. All these feelings are brought to the forefront as they watch the young Emilia at the beginning of her dance career and also romantically involved with Yuri. These doubts and regrets are not uncommon in middle age, but the old career versus marriage & family theme just isn't very original.Also, I found the cat fight near the end between the two women, Emma & Deedee, absurd and merely succumbing to the ridiculous popularity of cat fighting among cinema audiences. This did not add class to this movie (which, frankly, might have been classier) or any stars to my rating.On the whole, it's a forgettable film. The entire glimpse into the world of ballet elicited some interest and the dancing is magnificent. Otherwise, famous cast or not, it's not really a movie worth bothering with unless you're madly keen on ballet. As another reviewer commented, it isn't very involving and there's really no one to cheer for.

The Turning Point is still an enjoyable film almost 30 years after it was first released. The actors are all outstanding, as are the dancers, but the movie is stolen by ballet dancer Lesile Browne. Browne is only 19 in the film, but her dance skills are remarkable. Limited as an actress, yet she had a screen presence which made her enjoyable to watch.She looked stunning dancing in the studio, as her leg-warmers slid down her shapely legs, she is a vision of pure beauty. Amazing that Browne was not cast as a dancer in the movie FAME.The dance numbers are enjoyable, but unless you're a big fan of classical ballet, it may be somewhat boring. The male dancers all come across as very girlish, and the principal female stars very strong, a typical theme of some of the early 80s films.So, put on your on tights, yank your leg-warmers to your thigh, pop on your ballet slippers, and enjoy The Turning Point.

Having recently seen this 1977 Herbert Ross film, one can't even imagine what was the appeal when this movie was released. Basically, it's a story about the world of ballet and about what goes on backstage. The screen play by Arthur Laurents presents us with all the petty little feuds, roles coveted and not gotten. Ultimately, it's a story about that a sin in the dancing and acting milieux: growing old!The film deals with the long standing friendship of DeeDee and Emma. DeeDee has left the ballet company when she became pregnant. Emma goes to shine as the prima ballerina who gets all the honor and accolades. DeeDee is fulfilled with a family of her own, whereas Emma is lonely and desperate. The 'turning point' comes at the end when DeeDee and Emma square their differences in one of the most hilarious moments of the movie.Shirley MacLaine and Anne Bancroft have great moments in the film. It's always a great fun to watch both of these actresses by themselves, so it's even better watching them together. The rest of the cast includes Tom Skerritt, Martha Scott, Leslie Browne, Anthony Zerbe, Mikhail Baryshnikov and great moments of ballet magic.