User reviews

Ballet has never really been user friendly subject matter for movie box office potential but 1977's THE TURNING POINT was remarkable exception to that school of thought. Not only did this film preserve on screen some of the most beautiful ballet dancing ever scene forever, but it brought two Hollywood icons together for the first time who both turned in the Oscar-nominated performances of their careers. As a matter of fact, this is one of two films in Oscar history (THE COLOR PURPLE being the other) that was nominated for 11 Oscars but didn't win a single award. Nonetheless, it is still a compelling and riveting melodrama which uses ballet as its backdrop. The film focuses on two women, Emma Jacklin (Anne Bancroft) and Deedee Rodgers (Shirley MacLaine) who were both in the same ballet company many, many years ago and were competing for the lead in a new ballet when Deedee became pregnant and Emma got the role and this is way their relationship forked and their lives went separate ways. Deedee got married to a dancer in the company (Tom Skerritt) had three children and runs a dance studio now, but part of her still yearns to be a prima ballerina. Emma became the prima ballerina that Deedee wanted to be; however, Emma's life is all about work now...she takes class, she dances, and she goes home to her dogs. When Emma's dance company comes to Deedee's town, they are reunited and both begin to quietly choices that they made. Thrown into the mix is Amelia (real life prima ballerina Leslie Browne), Deedee's daughter who may be a better dancer than her mother ever was and Emma begins to groom and pulls strings to get her in the company which causes further resentment from Deedee. This movie is about choices, regrets, crushed dreams, and dreams fulfilled. Bancroft and MacLaine turn in grand performances and the dancing of ballet superstar Mikhail Barysnakov and Leslie Browne is outstanding (even though every time Browne opens her mouth you want to stuff a sock in it.) A beautiful melodrama anchored by supreme performances by two of the best actresses in the business.

After my 26th time watching The Turning Point I stopped counting my viewings. Some viewers might say it's not a tightly-written drama, and I don't care. For anyone who's ever enjoyed a dance performance, this is a must-see...or must-OWN. Mikhail Baryshnikov, recently-defected and at the absolute peak of his extrahuman abilities, is nothing short of breathtaking in this film. The first time he's shown dancing in the rehearsal studio invariably takes away my ability to breathe.

I also admit that I like the stories which provide the framework for the dance performances. When The Turning Point was originally released, I was about to turn 30. Now bumping my head on 60, I've seen the decisions, transitions, and forks in life's road which face all the film's characters, and have a much greater appreciation for the truth of the film. Shirley MacLaine, Anne Bancroft, Tom Skerrit, and Anthony Zerbe are, as we'd expect, excellent. The 18-year-old Leslie Browne is lovely, and a fine dancer. I'm particularly fond of Alexandra Danilova, one of ballet's immortals, as the matriarchal Madame Dhakarova. In the scene where she's coaching a much-younger woman on the Don Quixote pas de deux, she performs the role not only more correctly, but also more playfully and flirtatiously than her student. It's a treat to see.

I love dance (see review of All That Jazz), and I admit my bias freely. In addition to spectacular dance performances, there are good, human stories behind the 70's clothing and hair styles, so watch this film at least once and decide for yourself whether you'll see it again.

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.

The Turning Point is a landmark film in the dance movie genre. It follow two former friends and ballerinas, one-Shirley MacLaine-who chose to have a family instead of a career, and the other-Anne Bancroft-who chose the career and is weighing the consequences of what she gave up. MacLaine's daughter is also a ballerina, and as she pursues her dancing, she idolizes Bancroft rather than her own mother.

There's nothing wrong with the two leading ladies' acting, and the famous "catfight" scene makes the entire movie worth it, but as a dance movie, it's not very convincing. MacLaine was a very good dancer in her heyday and actually knows ballet, but the movie never showcases her skills. To anyone who doesn't know her background, her stature doesn't make her training immediately apparent. If you know what you're looking for, you can spot a ballerina out of a hundred strangers walking on the street. Bancroft's willowy frame is showcased in the film, and she has the stature that would make her dance training stand out in a crowd, but in the dance world, a ballerina approaches retirement at thirty. Internally, Bancroft nails her character, but externally, a forty-five-year-old woman wouldn't still be a prima ballerina.

The upside: Mikhail Baryshnikov. What a cutie pie! And while they are the minor leads of the movie, there are some beautiful dance scenes with Baryshnikov and Leslie Browne, real-life dancers. Plus, Tom Skerritt, who plays MacLaine's husband, is two tons of handsome. Lots of eye candy in this one, and lots of dancing, so if that appeals to you, rent it during your next girls' weekend! And don't mind my criticism too much. I love dance movies, and very frequently they have flaws. Just have fun with it and enjoy the movie!

A wonderful look inside the world of ballet, even if it is probably all highly refined balonium. A young and rising ballerina learns that great artists are not always great men; a mother would could have been a great ballerina finally has the hair-pulling match with the ballerina who wishes she'd been a mother that's she's wanted to have for years; catty remarks fly in all directions; and everyone is bound together, for good or ill, by their love of one particular form of art. You could bath for years in the suds of the soapy movie, but sometimes there's nothing quite so satisfying as a good soak. See it if you wish "The Ice Storm" had been any good.

Winner Best Picture and Director Golden Globe and 11 Academy Award nominations is a tip. From a real-life story of primary star Leslie Browne (longtime of the ABT) the film follows Emilia's adoption into the company of ballet stars from a family of dancers who retired to have her. Shirley Maclaine's Best movie. Anne Bancroft is unbelievable as a ballet dancer not ready to give up the limelight but ready to steal her friend's thunder as the enabler of a great ballet career for Emilia. This a great movie. Watch for some great choreography by all the big names, plus the great plus Alvin Ailey, and a shop window of ballet greats. Baryshnikov in his prime, Martins and Merrill on the side, Great editing, cinematography, the whole shebang.

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.

Emma and Didi shine in this memorable film looking at the world of ballet. Moira Shearer, Anton Walbrook et al of "The Red Shoes" of 1948 would have certainly been proud of it.

The ballet sequences are marvelously staged and beautifully realized by the cast.

Anne Bancroft and Shirley MacLaine received best actress nominations in their respective roles. It is when Leslie Browne, who was nominated for best supporting actress, becomes a ballerina, that her mother (MacLaine) looks back at the career she gave up for marriage and family. She meets her old friend and rival-Bancroft-who pursued her career at the expense of never marrying.

Mikhail Baryshnikov, the great Russian ballet dancer, is fabulous here and was even nominated for best supporting actor.

"The Turning Point" received 11 Oscar nominations. It walked away with no awards. Was Hollywood's lack of culture shown here?

First things first; this movie takes place within the American Ballet Theater. The name "American Ballet" was chosen by George Balanchine- a white Russian émigré to the United States- back in the 1930s when it was indeed probably the only major ballet company within the United States. However, their use of this term now is certainly misleading. I believe an alternative, and much more descriptive name, is "New York City Ballet"; that may in fact be the name they are legally required to use now due expiration of the original copyright though I would not swear to it. They are certainly very good at what they do; but, there are quite a few ballet companies within the United States nowadays and they are just as American as the group in New York City. And, probably just as good. Their is an irony here in that the movie starts, for some unfathomable reason, in Oklahoma City- which is, I guess, meant to show a place as far away from the "Big City" ballet as one can get. Perhaps in 1977 it was, but nowadays Oklahoma City itself has a very good ballet company. The only major reason why I do not consider the OKC ballet company as good as the one in New York City is due to the shortage of funds they have encountered recently. The OKC ballet school is pretty good- from what I have heard. Anyway, the New York City Ballet is a top notch outfit but it is certainly NOT the only major ballet company in the United States-despite what this movie implies. Okay, now that I have cleared this up I will now comment on this movie.

It is a "must see" movie for people who like ballet and even other major dance forms. There are a few problems- one is that Tom Skerritt plays the husband of a former ballerina of the company; himself a former "danseur" with the company. Yet, as good an actor as Mr. Skerritt is, I find his performance in this movie far from convincing in this manner. Their son is shown as an up and coming dancer; also with the company yet he disappears midway into the movie. What happened to him? I know the daughter is primary point of interest, but what happened to her brother??

Other than these weaknesses it is a very good movie- though it is somewhat surprising that it received 11 Academy Award nominations. Anne Bancroft was fantastic. In real life she never danced professionally nor took lessons yet she did a great job portraying an over-the-hill prima ballerina (possibly based on Margot Fonteyn). Shirley McClain- who did dance a lot - ironically is never seen dancing or even prepared for dancing.

This is a "chick flick"- no doubt about it, but if you are male and interested in the behind the scenes of a ballet company you will find this interesting also. Speaking of males- Mihail Baryshnikov comes close to stealing the show from the female leads. This movie, along with "The Nutcracker" that he performed later in 1977, was the "turning point" in his career. Well worth seeing by anybody of either gender for this alone!!

The dialogue in this movie is mostly artificial, sometimes embarrassing and always hard to listen to. Only Martha Scott, as the money-hungry owner of the ballet, seems to rise above the awkward words all the actors are forced to say. The dance scenes are great, if you like that kind of thing, but the rest of us made a face.

I like Bancroft and MacLaine and Tom Skerritt (MacLaine and Skerritt would later be friendly rivals in 'Steel Magnolias') and they are always great, even in this, even if the movie is not worthy of their talents.

I can see why this did not win any Oscars and no offense to anyone doing the nominating, but it had to be a REALLY lean year if Mikhail Baryshnikov and Leslie Browne got Supporting nominations. They are fine, especially Browne in a funny drunk scene, but come on! There was never much of a chance either would beat out the eventual winners Jason Robards and Vanessa Redgrave, though if the truth be known I would have voted for Tuesday Weld in 'Looking for Mr. Goodbar' and Peter Firth in 'Equus.'

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!

If you're expecting a masterpiece of storytelling and acting when watching, "The Turning Point", you'll be greatly disappointed. Don't get me wrong, the 2 lead performances are great, however the best supporting actor and best supporting actress are completely undeserved, they were okay, not great. The ballet performances are really good and breathtaking to watch. However, the movie, really feels like a made for T.V flick instead of a full-scale cinematic experience. They're were many other films that deserved a Best Picture nomination in 1977. The film has pretty much faded in the last 30 years, no one really talks about it anymore. If you're just looking for a film that showcases some truly great ballet, you won't be disappointed, if you're looking for something more, you won't find it here.

Herbert Ross' "The Turning Point" is by no means a bad movie but the frontier between quality and enjoyment is so blurry at times that even a film with good performances, art-direction, music and other high-aiming assets doesn't make for a compelling story... I don't know if I expected a lot to begin with.

For an Oscar buff like me, movies nominated for Best Pictures have always been 'must-watch'. "The Turning Point" wasn't just nominated for that Oscar but for 10 others and that includes four acting nominations (surely an equivalent to "Network" or "Rocky" one would imagine) but even within the chronological company of iconic New Hollywood pictures, this one never ignited a strong desire to watch it... I could call it a personal bias against 'ballet' but no, I was enthralled by movies such as "The Red Shoes", "All That Jazz" and "Black Swan" and I admit that the best part of "The Turning Point" was the ballet sequences.

I didn't expect much because I knew that even in the late 70s, the New Hollywood inspiration was losing its breath and some particularly low-key films for the sake of realism were starting to pinpoint the limits of 'author' cinema. Indeed, what were the other Best Picture nominees of 1977: two other well-intentioned but similarly lackluster films with a made-for-TV feel such as "The Goodbye Girl" and "Julia" and then two classics: "Annie Hall" and a certain space opera signaling the rise of the blockbuster movies (already announced by "Jaws"). It's easy to say why 1977 wasn't a particularly interesting year except for these two icons and perhaps another classic that happens to be about dancing: "Saturday Night Fever".

It wouldn't be fair to compare a tale of two middle-aged women contemplating their career and personal choices with a tale of youth finding areas of expression on the dance floor but let's just be a little primitive for once: if one movie about dancing doesn't inject a strong urge to question your own passions, fears or demons and translate them into an artistic endeavor that defines you, then dancing is only accessory. And that's the problem with "The Turning Point" approach of dancing, it lacks the spark of passion, what remains is just a story of a woman named Deedee (Shirley MacLaine) who reminisces about the time where she could be a star and her friend Emma (Anne Bancroft) who becomes a star and tries to gracefully cope with, as Stallone would say the "inevitable migration toward obsolescence".

You'd think I only gave you a little pitch and the film goes further from that starting point but believe me, it doesn't. Never does Ross try to provide a little more ambivalence to his characters, too reasonable for the film's own good and too busy inflicting us some expositional dialogues during the first twenty minutes. Maybe the reason is that Deedee is still contented with her life, after all, she still has a ballet school in Oklahoma, she married a former dancer (Tom Skerrit) and her children inherited the virus especially her daughter Emilia (Leslie Browne) who got the epiphany after watching Emma and Deedee is simply jealous. The beginning of the daughter's journey triggers the mother's contemplation of her long-ago decision to privilege family. The closest to subtlety added to that personal introspection comes way too late in a riveting conversation between Emma and Deedee where her talent is put into debate and we wonder if she simply didn't make the right choice.

But talk about a long build-up to a predictable outcome. I don't mind 'serious' stories with straightforward approaches, some have the makings of masterpiece, like a certain Best Picture winner about conflictual mother-and-daughter relationship starring Shirley MacLaine. "Terms of Endearments" didn't have a revolutionary storyline, hell, it didn't have dancing but what it had was a character we could seriously relate to: tortured, obnoxious but with a fierce passion and humor. "The Turning Point" has no humor whatsoever which is a waste of MacLaine's potential (only the climactic catfight brings a few chuckles), the daughter is rather bland and only shines in her dancing moments and through some interactions with the more colorful Yuri (interesting Baryshnikov), the closest to a colorful character is the aging Martha Scott as a woman who calls a spade a spade and makes for awkward situations... never fully exploited. Ross isn't just being reasonable, he's just too civilized.

And Ross' mistake is to take his passion for ballet for granted and never try to get out of the soap-opera zone of comfort, something Fosse would truly accomplish with "All That Jazz", to create a parallel between stage and real life. Ross keeps it safe and all we've got is poor Deedee drowning her sorrows, sharing her insecurities and you know it's a bad sign when you've got to insert a lousy affair as a filler. I agree with many reviewers that the subplot was uncalled for and the characters not too involving and that's a shame because the performances deserved more, Bancroft and MacLaine do their best to make their middle-aged fading women relatable and serious but guess who took home the Oscar that year? Diane Keaton as the perky and petulant Annie Hall. Where was the punch? The anger? Even a social commentary about women's existential dilemmas and the eternal equation between career, passion and family?

"The Turning Point" was a personal dream from Ross that took ten years to achieve and alas, it shows, there's something anachronistic about it, some said it was a revival of the old Hollywood pictures of the 40s, I think it's closer to the 60s in spirit with a suburban setting that foreshadows the realistic family dramas of the 70s and 80s. Coincidentally, I just watched yesterday the "Sly" documentary and it said more about lost opportunities, pivotal career choices and fading glory in two or three punch statements from Stallone than these two hours or excruciating pastel drama.

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.

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.

If you think ballet is amazing and one of the greatest forms of art, then are you in for a treat with "The Turning Point". It is chock full of ballet from start to finish--and you will clearly get your fill of dancing. However, if you are like the other 90% of the public, you are NOT in love with this dance, then you might find the film very, very slow going. It's not only because there is so much dancing but because the film is very, very slow. And, because the characters seemed rather unappealing, it's made even worse. Clearly the film is well made but dull as dishwater. Now I am NOT saying that a ballet theme can't be good (I loved "The Black Swan")--but this particular ballet film is just too tough going for the average bloke. And, I can see while SOME on the Oscar committee loved it, I can also understand how it received 11 nominations and not a single win since it's such a niche film with such limited appeal. Not easy to watch if you are me....

This is a wonderful film for anyone who enjoys ballet. The dance parts and practices are really breath taking, especially those of Baryshnikov. The story is not bad either; you can see how a ballerina feels when her life on the stage ends at the age of about 35, or one who sacrifices that life to have children but regrets that all her life. I think the film is really great, especially the ballet.

Shirley MacLaine and Anne Bancroft play one-time ballerina rivals in this pointless sudser from 1977. MacLaine has a loving husband and comfy home, but gave up her career; Bancroft has the career, but no one to share it with. Both re-meet when MacLaine's daughter becomes a ballerina and struggle with feelings of what could have been if each had pursued the life of the other. Congratulations if you can muster up the energy to care about any of this, because I sure as hell couldn't.

The film features an Academy Award nominated performance by Mikhail Baryshnikov, whose nomination was for his dancing, not his acting, and another wonderful low-key performance from the shamelessly underrated Tom Skerritt as MacLaine's husband. The high point of the film is when MacLaine and Bancroft let loose on one another in a good old fashioned hair-pulling, face-scratching cat fight. The rest is a dull bore.

Grade: C-