One of a cycle of 70s post-Womens Liberation womens pictures, Herbert Rosss drama uses the ballet world to examine the conflict between family and career. Former dance colleagues Deedee (Shirley MacLaine) and Emma (Anne Bancroft) are reunited when Emmas New York ballet company stops in Oklahoma City for a performance. Having dropped her career for marriage and motherhood, Deedee envies prima ballerina Emmas limelight life; aging Emma, realizing that her days as a star are numbered, wishes that she had the fulfillment of a family like Deedees. Tensions simmer when Deedees talented teenage daughter, Emilia (Leslie Browne), moves to New York to join Emmas company. As Emma maternally bonds with Emilia, and Emilia falls in love with womanizing dancer Yuri (Mikhail Baryshnikov), Deedee feels that shes losing her place even as a mother. After Emilias triumphant debut, Deedees and Emmas resentments boil over into an all-out catfight that ends when they realize they can unite in happiness for Emilias future. Splitting the desires to nest and to work between two characters, Ross and writer Arthur Laurents reveal the difficulty faced by women in a world of expanding options. As in Michael Powells and Emeric Pressburgers seminal ballet film The Red Shoes (1948), dancing and a personal life dont mix, even as the films display ballets seductive power here in the gracefully integrated numbers by dance stars Browne and Baryshnikov. Despite reservations about its melodramatic aspects, The Turning Point earned box-office success and eleven Oscar nominations (but no wins). Even if its wife/work struggle seems a bit old-fashioned, Deedees and Emmas final bond suggests that the next generation may not have the same regrets. ~ Lucia Bozzola, All Movie Guide