The Turning Point

Loved this film. If you love all things dance (in particular ballet) this is a must see. I am too embarrassed to tell you how many times I have actually seen this film. It's Baryshinikov!

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.

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.

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.

I had no knowledge or interest in ballet before viewing The Turning Point on HBO about a year after it was first released to theaters. The HBO promotions department concentrated more on the cat fight between Shirley MacLaine and Anne Bancroft and less on the numerous ballet dances. I thought it was going to be an unintentional laugh riot. Boy, was I wrong.

MacLaine and Bancroft as former dance rivals do a great job separately and together. You sense the history of both characters and the issues that have colored the decisions they made. MacLaine's character, Deedee, getting pregnant and leaving the ballet company, while with Bancroft's character, Emma, the veteran prima ballerina who never married and struggles to stay a ballerina not knowing when or how to gracefully end her career.

Director Herbert Ross and screenwriter Arthur Laurents conceived an interesting, albeit thin, story within the backdrop of ballet. The lead actresses and the supporting cast, including James Mitchell, Anthony Zerbe, Tom Skerritt as MacLaine's husband and especially Martha Scott as the blunt, money-minded owner of the ballet company, do a very good job and, in some ways, improve on the material given to them.

As far as the ballet dancers in acting roles, well they are great dancers. To be fair, hiring anyone with little or no acting experience and expect them to act in a major movie for the first time would be a challenge for anyone. Leslie Browne, as Emilia, Deedee's oldest who is in the process of becoming the next prima ballerina, had a very tough task and, when it came to the dialog, I thought she did as good a job as she could. But when she was in her element, namely in the dance studio and on stage, she was wonderful. (It's a shame that actress/former ballerina Neve Campbell was only four years old when The Turning Point was first released. Acting-wise, Campbell would have been a more convincing Emilia. But I digress.)

Mikhail Baryshnikov fared much better as the main male ballet dancer/Lothario. He oozed charisma on screen and his jumps on stage are breathtaking. Years after The Turning Point, he has done some decent work in White Nights on screen and Sex and the City on television.

Interestingly, out of all of the non-professional actors, I thought Alexandra Danilova, who played Emilia's ballet teacher, gave the most natural and less stilted performance. She seemed very comfortable essentially playing herself. I have a feeling that it has a lot to do with her real ballet experience of over 50 years when the film was released in 1977.

The last time I viewed The Turning Point was in 2005. The material is still pretty thin but I do believe that if it wasn't for the strong performances (acting and dancing) the film would not hold up after all these years.