The Turning Point Page #2

Synopsis: The story of two women whose lives are dedicated to ballet. Deedee left her promising dance career to become a wife and mother and now runs a ballet school in Oklahoma. Emma stayed with a company and became a star though her time has nearly passed. Both want what the other has and reflect on missed chances as they are brought together again through Deedee's daughter, who joins the company.
Genre: Drama, Romance
Director(s): Herbert Ross
Production: Paramount Pictures
  Nominated for 11 Oscars. Another 11 wins & 7 nominations.
 
IMDB:
6.9
Rotten Tomatoes:
60%
PG
Year:
1977
119 min
1,969 Views


I don't want 'em to ever leave.

I wanna go with 'em. I miss 'em. I want...

Oh, what the hell. Your eyes.

Your ass.

Emma? Anybody seen Emma?

With all that experience

you're really a professional.

Would you like to take class

with the company in the morning?

Emilia, it's pointless to be shy.

You must know what you want

and say it.

- I know some things I want.

- Such as?

To take class with the company.

Had I understood 38 years ago

what I was getting myself into,

I'd never have started

this bloody ballet company.

I had just one thought.

"We need a first-class American company."

- But you've got a lot of foreigners in yours.

- Dance is international.

My company's almost gone under five times.

But here we are,

the best ballet company in the world.

Well, in this country, anyway.

- Is that the way you were brought up?

- Yes.

Your mother.

Well, I want her and your father

to introduce me to some rich oil folk.

They have a ballet school, dearie,

and that always means

a half a dozen rather lumpy little girls

with very rich daddies.

Now, I won't interfere

with their business, Janina.

I know how to handle the rich.

You give them hope, they give you money.

Don't put that ham away.

Save the commercial, Adelaide.

Janina hasn't got a penny.

- She should open a restaurant.

- Thank you.

It's a choreographer's prerogative

to keep his ideas to himself.

But, Arnold, must you be so secretive? Tell

us a little something about your new ballet.

There won't be a swan onstage.

- That's a little something.

- But not enough to guarantee you'll do it?

- Don't run, Adelaide.

- I told you Michael and I will do our best.

And I never run.

Deedee?

How do you get anywhere with her?

By realizing she knows

exactly what she's doing.

Oh, by the way, we'd like to have

a new ballet for Emma this season.

Oh, you don't have to use her, Arnold.

It's just a thought.

- Oh, were you pleased with Emma tonight?

- Yes, very.

I made Emma, Janina.

No, she didn't. Michael made Emma.

But you helped, Adelaide.

Booze brings out the nit-pickers.

I could have helped make you.

- Really, Mom?

- Were you as good as Emma, Mom?

- I was different.

- Very. From the day you both joined us.

Different how?

Your mother preferred to get married.

- Well, good night, all.

- I'll walk you to the car.

- Good night.

- Coming. Good night.

God, dancers have ugly feet. Ugh.

If I were a man, I could have had all the feet...

I mean children... I wanted, and still danced.

How many children?

Three. Like yours.

And a husband like Wayne.

Yes.

You're a very lucky girl.

Wanna change places?

No, I can't see you

teaching a pack of klutzy kids.

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Arthur Laurents

Arthur Laurents (July 14, 1917 – May 5, 2011) was an American playwright, stage director and screenwriter.After writing scripts for radio shows after college and then training films for the U.S. Army during World War II, Laurents turned to writing for Broadway, producing a body of work that includes West Side Story (1957), Gypsy (1959), and Hallelujah, Baby! (1967), and directing some of his own shows and other Broadway productions. His early film scripts include Rope (1948) for Alfred Hitchcock, followed by Anastasia (1956), Bonjour Tristesse (1958), The Way We Were (1973), and The Turning Point (1977). more…

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Submitted on August 05, 2018

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