Paramount trains its cameras on a fictional crime syndicate in The Turning Point. Armed with a college education and a law degree, Edmond O'Brien tackles his new job of a crime committee chairman with a youthful enthusiasm. Also on hand is Alexis Smith, his girl Friday, and William Holden, a cynical reporter who warns O'Brien of the pitfalls that lie ahead.
Paramount trains its cameras on a fictional crime syndicate in The Turning Point. Armed with a college education and a law degree, Edmond O’Brien tackles his new job of a crime committee chairman with a youthful enthusiasm. Also on hand is Alexis Smith, his girl Friday, and William Holden, a cynical reporter who warns O’Brien of the pitfalls that lie ahead.
Occasionally, the movement of the script tends to lag in a rash of superfluous dialog. This is especially apparent at the midway point. However, the action accelerates thereafter and the closing reels are highlighted by a suspenseful hunt for an ‘all-important’ femme witness, plus Holden’s frantic efforts to escape from an assassin in the concrete cavern of a fight stadium.
The Turning Point
Paramount. Director William Dieterle; Producer Irving Asher; Screenplay Warren Duff; Camera Lionel Lindon; Editor George Tomasini; Music Irving Talbot; Art Director Hal Pereira, Joseph McMillan Johnson
(Color) Extract of a review from 1952. Running time: 85 MIN.
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