The Turning Point

William Holden is Jerry McKibbon, a reporter who's trying to help his pal Edmond O'Brien as district attorney John Conroy and his girl Alexis Smith as Amanda Waycross expose the big city gangster Ed Begley as Neil Eichelberger with some help from O'Brien's cop father, Tom Tully as Matt Conroy. I'll stop there and just say this was quite a thrilling crime drama though compared to others from the period, also perhaps a little subdued. Still, a suspenseful atmosphere permeates throughout especially when a boxing match where someone tries to kill provides the exciting climax. No big music score is provided but there are some good sequences when the story doesn't take the time for some romance between either of the male leads and Ms. Smith which aren't really needed. So on that note, The Turning Point is well worth the time.

The Kefauver committee's hearings into organised crime had millions of Americans glued to their TV screens and naturally Hollywood was quick to pounce. Of the film noirs inspired by the hearings the most accomplished is arguably this one directed by one of cinema's great stylists William Dieterle and featuring strong performances from a cast that can only be described as top notch.

Edmond O'Brien as moral crusader Conroy is dedicated but never self-righteous whilst William Holden's McKibbon is one of his cynical roles from this period. Alexis Smith as Amanda is required to be earnest and this she does very well. Ed Begley is spot on as an utterly loathsome crime boss supposedly based on the equally loathsome Frank Costello and as there is no show without Punch his sidekick is played by the ubiquitous Ted de Corsia. Carolyn Jones makes a delicious debut in a brief appearance as a gangster's moll.

Mention must be made of the expertise behind the camera, notably Lionel Lindon's cinematography, the literate script for which Warren Duff is credited but which shows the influence of the legendary but uncredited W. R. Burnett and not least the superlative editing by George Tomasini whose contribution to the films of Hitchcock was to prove immeasurable and whose editing here of the climactic scene at the boxing match typifies his skills. Apart fom 'stock' music at the start and conclusion, it is the sounds of the city that provide the soundtrack throughout.

Dieterle had begun as an actor in German silent films and adapted brilliantly to the Hollywood system but sadly, although he was never officially charged, the HUAC made life difficult for him and he was soon to find worthy directorial assignments elusive.

The film itself offers a grim reminder that even though the occasional battle against organised crime may be won, the war is ultimately lost. It is akin to the mythological Hydra and whenever one of its many heads is cut off, another grows in its place.

Not to be confused with more than five dozen other movies of the same name, The Turning Point (1952) has Edmond O'Brien tapped to head an investigation into organized crime, aided by his girlfriend Alexis Smith. This provides background for newspaperman William Holden, who advises him that there's a lot of corruption to be rooted out; even O'Brien's father, police officer Tom Tully may be implicated. As the committee's investigation falls apart, Holden keeps digging. He becomes the target.

Based on a Horace McCoy story, this is a fine, complex noir feature rooted in the events of its time. William Dieterle directs with his usual sure hand, pulling out fine performances. Although Lionel Lindon's photography is not as dark as some noirs, he shoots all of the standard LA noir spots except the Bradbury Building, and his shadows, particularly in the climactic Olympic Stadium sequence, are as dark as any.

If you like your noir realistic, then this film is for you. The twist ending will also provide a surprise for some, although it is generally a Hollywood formula that when two good guys are interested in the same girl, one of them usually gets knocked off. William Holden, Edmund O'Brien, Neville Brand (TV Untouchables), and Carolyn Jones all give outstanding performances. A reporter and cop love the same woman and the mob is after both men. Great dialogue; especially the line where the top hood says (paraphrasing) "your college degree didnt make you better or smarter than the rest of us in the real world".

From 1952 Paramount, The Turning Point is a crime drama starring William Holden, Alexis Smith, Edmond O'Brien, and Ed Begley.

O'Brien is John Conroy an attorney who has returned to his home town to lead a commission dedicated to wiping out corruption in their city, somewhere in the midwest. Holden is Jerry McKibbon, his childhood friend who is now a sharp and somewhat cynical reporter. He spots McKibbon's idealism right away and thinks he might be headed for a big reality check. Alexis Smith plays Amanda, a socialite who is John's girlfriend and secretary.

Some of this is telegraphed early. First off, how long does anyone think Amanda will stay Ed Begley's girlfriend once she sees William Holden? Then John happily tells his police detective father that he is hiring him as chief investigator for the commission. His father (Tom Tully) doesn't want the job. Now why do we suppose that is?

Ed Begley is the head mobster, Neil Eichelberger, a crumb who doesn't care whom he has to kill or blow up to get his way. One of his henchman is Roy Ackerman (Danny Dayton). They're both foul.

Even with some predictability, this is a well-acted, tight story directed by William Dieterle. The end takes place at a boxing match and is exciting. Watch for Neville Brand as an out of town hit man at the end of the film.

For trivia buffs, there are some uncredited people who rose above being uncredited: Carolyn Jones in her first film; '50s starlet Rachel Ames, who joined the cast of General Hospital in 1964, a year after its debut. She still occasionally makes an appearance, and she looks fantastic. Also Whit Bissell and Robert Rockwell (Mr. Boynton on Our Miss Brooks). Good movie.