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Herbert Ross’s ballet-themed melodrama The Turning Point is a critically acclaimed film rich in dancer’s wisdom and insight.
By Chino Hernandez
Forty-five years ago, Herbert Ross’s ballet-themed melodrama The Turning Point premiered in American theaters. The year was 1977 and Star Wars was all the rage. Sci-fi films and action blockbusters had taken over the cultural zeitgeist. Yet, Ross’s film about gender politics and the plight of female ballet dancers managed to strike a chord with Oscar voters. The Turning Point received a whopping 11 Academy Award nominations, including Best Picture. It would win zero, later tying with Steven Spielberg’s The Color Purple as the film with the most nods without a single victory.
A Triumph For Movie Critics
The film was a modest box office hit, ending its theatrical run as the 19th highest earner of the year. Critics were mixed on the movie as a whole. Many of them criticized the film’s cliché plot devices and melodramatic storytelling. However, The Turning Point also had its defenders. Variety’s Arthur D. Murphy called the film “one of the best films of this era….[a] rare example of synergy in which every key element is excellent and the ensemble is an absolute triumph.” Gary Arnold of The Washington Post wrote that the movie was “an authentic breakthrough-throwback: a vividly enacted depiction of the conflicts between strong, capable, conscious, willful women.”
Nearly five decades later, The Turning Point is but a curious bump in pop culture history. While it received a record amount of Oscar nominations, fairly good reviews, and made money for Hollywood (without relying on big special effects and CGI spaceships), it is barely discussed by moviegoers outside serious cinephile circles.
Popular ballet movies today include Black Swan (2010) and The Red Shoes (1948), two psychological dramas that have rightfully earned their place in the Hall of Fame of Dance Films. However, people should not sleep on Herbert Ross’s masterful motion picture. I would argue that The Turning Point deserves to be mentioned in the same breath as the two previously mentioned movies. It holds up particularly well, with its themes feeling as fresh and relevant today as they did in 1977.
The Rise And Fall Of Prima Ballerinas
Set in the world of competitive ballet dancers, The Turning Point follows three women whose decisions have defined their lives. There is DeeDee Rodgers played by Shirley MacLaine, a former ballerina with the New York City Ballet, who gave up dancing after becoming pregnant with her daughter Emilia (Leslie Browne). Emilia is a bright young star in the company, who is discovering her talent and her budding womanhood. Finally, there is Emma Jacklin (portrayed by Anne Bancroft), who is the company’s aging prima ballerina and the former best friend of DeeDee.
As Emilia’s star begins to rise, DeeDee and Emma begin to unravel. But unlike the psychological horrors of Black Swan, The Turning Point chooses to portray this in a more grounded and realistic way. DeeDee begins to reflect on the “what if’s” of her life had she continued with dance rather than becoming a young mother. Jealousy and resentment towards her daughter and her friend begins to consume her.
On the other hand, we have the Anne Bancroft character, Emma, who seemingly lives the perfect life of a famous prima ballerina. Yet, deep within her are feelings of regret and loneliness. She is aging, and new talent is emerging. Will the company set her aside before she is ready? Should she have followed in DeeDee’s footsteps and raised a family instead?
A Ballet for Women’s Liberation
Made during the height of the Women’s Liberation Movement, The Turning Point has a lot to say about women’s lives and their roles in society. The film touches upon many important themes, such as female independence, discontentment, motherhood, aging, hard work, sex, and homosexuality. Watching the movie today, it feels fair to say that The Turning Point is very much a feminist work of art. The movie explores the female experience and sets out to spark a thoughtful conversation about women’s social status. The characters in the film are women of agency. They challenge traditional gender norms and are aware of the harsh realities of their chosen paths.
Acting–and Dancing–at its Finest
The Turning Point has the rare distinction of being a film that has earned four acting nominations at the Oscars. It is a feat shared with classics such as A Streetcar Named Desire (1951), The Godfather (1972), and The Last Picture Show (1971), though it would not win any category. Shirley MacLaine and Anne Bancroft were rightfully nominated for their leading performances as DeeDee and Emma. The young ballerina Leslie Browne was nominated for her work in the Supporting Actress category. Browne was a novice actress, and it truly showed in her performance.
However, I would argue the Academy rewarded her for her beautiful dancing. The same goes for the iconic danseur Mikhail Baryshnikov, who was nominated for Best Supporting Actor. The Russian dancer is a force to be reckoned with. He barely has any speaking lines in the film, but when he dances (mostly with Browne), the audience is star-struck by his genius.
While general audiences have forgotten about The Turning Point today, the film is absolutely worth seeking out. Beyond the glorious dance performances, the movie has a lot to say about ballet and womanhood. It never shies away from the difficult and the ugly, portraying it all in an interesting and highly cinematic way. It is an all-time great ballet film that deserves to be seen by anybody who loves both the art forms of dance and moviemaking.