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The Turning Point

The Turning Point

Drama · Romance · 1977

As young dancers, they were best friends and fierce rivals. Deedee left the stage for marriage and motherhood, while Emma would become an international ballet icon. But when Deedee's teenage daughter is invited to join Emma's dance company and begins an affair with a young Russian star, the two women are forced to confront the choices they've made, the resentments they've hidden and the emotional truths they must face at the turning point.

Movie details

The Turning Point

“The generations change. But the choices remain the same.”

1977 Drama · Romance 1h 59m

Critical arithmetic

One number, for now.

TMDB

6.6 / 10

Community rating

As young dancers, they were best friends and fierce rivals. Deedee left the stage for marriage and motherhood, while Emma would become an international ballet icon. But when Deedee's teenage daughter is invited to join Emma's dance company and begins an affair with a young Russian star, the two women are forced to confront the choices they've made, the resentments they've hidden and the emotional truths they must face at the turning point.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Turning Point?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Herbert Ross

Written by

Arthur Laurents

Anne Bancroft

Anne Bancroft

Emma

Shirley MacLaine

Shirley MacLaine

Deedee

Tom Skerritt

Tom Skerritt

Wayne

Mikhail Baryshnikov

Mikhail Baryshnikov

Yuri

Leslie Browne

Leslie Browne

Emilia

Martha Scott

Martha Scott

Adelaide

A

Antoinette Sibley

Sevilla

Court is in session

Put The Turning Point on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.