Word: lorie
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Dates: during 1990-1999
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...Foster, David Frost, Bill Gates, John Glenn, Mikhail Gorbachev, Billy Graham, Andrew Grove, Dorothy Hamill, Valerie Harper, Beth Heiden, Anita Hill, David Ho, Lee Iacocca, John Irving, Steve Jobs, Jeffrey Katzenberg, Jack Kemp, Caroline Kennedy, Ted Kennedy, Nancy Kerrigan, Jack Kevorkian, Henry Kissinger, Bert Lance, Sophia Loren, James Lovell, Lori Lucas, Robert McNamara, Norman Mailer, Mary Tyler Moore, Dick Morris, Toni Morrison, Ralph Nader, Mike Nichols, Edward James Olmos, Jane Pauley, Dan Rather, Donna Rice, Leni Riefenstahl, Molly Ringwald, Mickey Rooney, Mort Sahl, Diane Sawyer, Claudia Schiffer, Arthur Schlesinger Jr., Sargent Shriver, Steven Spielberg, Kerri Strug, Cheryl Tiegs, Laurence Tisch...
...choreography. She feeds off the power of her music, using the swells and dips of the notes to guide her movements and propel her spins and jumps. "The skating quality she has achieved--her edge, her body line, her flexibility, her musicality--is not by accident," says her choreographer, Lori Nichol. "There is so much work that goes into it. You have to be so secure in your technique for the soul to come out like that. She does everything so well that I don't think people on the average realize how difficult what she's doing...
...melodies to which several of the characters sing their poetry--Yerma's dream-monologues, a shepherd song by Victor, a complex six-part song by the village washerwomen--as well as incidental music. Exquisitely performed by Baxindine on piano and Marianne McPherson '01 on flute (filling in for regular Lori Sonderegger), the music fills the space of Old Library and combines with the delicate shifting of the light and the dreamlike lyricism of the poetry to create an atmosphere of dreamlike and rare beauty...
Throw-away lines are bad enough, but throw-away characters are inexcusable. Some of the smaller roles, including Blythe Danner's inexplicably mouthy museum curator, Ms. Banks and Mia Kirshner's doe-eyed intern, Lori, are disappointingly one-dimensional. Kirshner's character is particularly objectionable: we watch as she shifts her allegiance from one powerful man to another, vamping whoever appears to be in charge. She even seems amenable to a sexual relationship with Brackett if it will advance her career. Gavras claims she represents "the loss of innocence," but her bovine willingness to be seduced by the powerful reporters...
...become more sympathetic as the climax approaches, and they try very hard to make us like him again, a feat which requires some serious mid-movie plot engineering (up to this point, we've only seen him capitalizing on tragedy and weighing the pros and cons of seducing Lori). Halfway into the film, two wolfish network producers inexplicably show us a clip of Brackett and anchor Hollander on the site of a gruesome airplane crash. Shaken by the carnage he has just witnessed, Brackett explodes at Hollander's request for a gory description of the scene, humiliating his powerful colleague...