Oscar music winners

Oscar music winners DEFAULT

Oscars best original song winners – ranked!

40. Randy Newman – If I Didn’t Have You (Monsters, Inc, 2001)

Better Randy Newman songs were nominated for Oscars without winning – the decision to overlook Toy Story 2’s astonishing When She Loved Me is particularly baffling – but If I Didn’t Have You is still incredibly charming: a paean to friendship sung by Billy Crystal and John Goodman.

39. Alan Menken and Howard Ashman – Under the Sea (The Little Mermaid, 1989)

The Little Mermaid was the film that began the Disney renaissance, which would go on to dominate the Academy’s best-song category in the 1990s. Under the Sea is an early demonstration of how: beneath its perky, kid-friendly calypso lurks a set of lyrics that do more than your average children’s song, dabbling in social comment.

38. Alan Menken and Tim Rice – A Whole New World (Aladdin, 1992)

The only Disney song to reach No 1 in the US – a fairly incredible state of affairs in itself – knocked Whitney Houston’s I Will Always Love You off the top of the charts and similarly prevented The Bodyguard’s frenzied epic I Have Nothing from scooping the Oscar for best song.

37. Common and John Legend – Glory (Selma, 2014)

Common and John Legend’s theme from the civil-rights epic Selma is one of the less celebrated recent Oscar-winners. It became only a minor hit, which seems surprising: it serves up tension and euphoria in equal measure, and Legend’s closing burst of extemporised vocals is spine-tingling.

36. Dimitri Tiomkin and Ned Washington – The Ballad of High Noon (High Noon, 1952)

Frankie Laine’s version of The Ballad of High Noon – sung in the movie by Tex Ritter – was on the first ever British chart. It was a rare hint of brooding darkness amid a set of songs big on cosy sentimentality. But Ritter’s version is darker and more brooding still, set to a stark arrangement of drums and guitar, full of foreboding: quite unlike any previous Oscar winner.

35. Stephen Sondheim – Sooner or Later (Dick Tracy, 1990)

The Dick Tracy soundtrack album I’m Breathless is a largely overlooked moment in Madonna’s back catalogue, but Sooner or Later is genuinely great. It is a Stephen Sondheim-penned 30s jazz pastiche, far outside of the singer’s musical and vocal comfort zone, but she pulls it off with considerable style.

34. Three 6 Mafia – It’s Hard Out Here for a Pimp (Hustle & Flow, 2005)

Certainly the most strikingly titled Oscar-winning song of all time, Three 6 Mafia’s unflinching gangsta rap track also appears to pay gentle homage to a previous best original song triumph: there is a distinct hint of the blaxploitation soundtrack style minted by Isaac Hayes’ Theme From Shaft about the music.

33. Giorgio Moroder and Tom Whitlock – Take My Breath Away (Top Gun, 1986)

After Flashdance’s 1983 victory, ballads – especially power ballads – reigned supreme at the Oscars for the rest of the decade: devotees of Up Where We Belong or, indeed, I’ve Had the Time of My Life might disagree, but the pick is Berlin’s Moroder-produced, synth-heavy Top Gun smash: a song as evocative of its era as the smell of Studio Line hair mousse.

32. Michael Gore and Dean Pitchford – Fame (Fame, 1980)

Bizarrely, Fame only became a UK hit two years after winning an Oscar: it was the spin-off TV series, not the movie, that turned it into a No 1. It has never since quite escaped the tag of being the sound of a million early 80s school discos, masking what a smartly constructed disco-rock hybrid it was.

31 Harry Warren and Al Dubin – Lullaby of Broadway (Gold Diggers of 1935, 1935)

The second winner of the best original song Oscar was used in three separate films in 1935. Seventy-five years later, you can still see why: the melody is hard to resist and its depiction of New York nightlife makes staggering home at dawn sound like the most fun it is possible to have.

30. Adele and Paul Epworth – Skyfall (Skyfall, 2012)

Incredibly, Skyfall was the first Bond theme to win an Oscar – most of the legendary 60s and 70s themes didn’t warrant a nomination. It does a fantastic job of updating the traditional high-drama approach of the series, with a particular nod to Shirley Bassey’s explosive approach: Adele’s vocal is similarly brassy and effective.

29. Fred Carlin, Jimmy Griffin and Robb Royer – For All We Know (Lovers and Other Strangers, 1970)

A huge hit at the time, the romantic comedy Lovers and Other Strangers isn’t much remembered 50 years on. For All We Know, a ballad written by two members of Bread, is, largely because of the Carpenters’ definitive version. Karen Carpenter’s astonishing voice, as ever, teases out a sense of doubt and unease under the romantic exterior and easy-listening gloss.

28. AR Rahman and Gulzar – Jai Ho (Slumdog Millionaire, 2008)

The Oscars have mostly shied away from songs not sung in English, which makes AR Rahman’s intense, Auto-Tune-heavy Bollywood track something of an anomaly. After its success it variously ended up covered by the Pussycat Dolls, as an internet meme and the Indian National Congress’ 2009 general election theme.

27. Kristen Anderson-Lopez and Robert Lopez – Remember Me (Coco, 2017)

Remember Me recurs in different versions throughout Pixar’s Day of the Dead-inspired Coco, from mariachi to Miguel-fronted pop. Every version carries emotional weight, such is the song’s subtle, delicate treatment of the subject of loss. Not the easiest topic to essay in an animated children’s film, but it does it beautifully.

26. Jimmy Van Heusen and Sammy Cahn – All the Way (The Joker Is Wild, 1957)

One of umpteen Frank Sinatra hits penned by Jimmy Van Heusen and Sammy Khan, All the Way became so popular that it overshadowed the film in which it was featured; indeed, it overshadowed it to such an extent that The Joker Is Wild – a downbeat drama about an alcoholic nightclub entertainer, Joe E Lewis – ended up being briefly renamed after the song.

25. Lady Gaga, Mark Ronson, Anthony Rossomando and Andrew Wyatt – Shallow (A Star Is Born, 2018)

In a sense, Lady Gaga and Bradley Cooper’s Shallow is a return to the kind of songs that won Oscars in the 80s: it is in effect an old-fashioned power ballad that shifts from fragility to belting-it-out intensity. But the old tricks still work, as evidenced by its rapturous critical reception.

24. Peter Allen, Burt Bacharach, Christopher Cross & Carole Bayer Sager – Arthur’s Theme (Best That You Can Do) (Arthur, 1981)

A perennial staple on late-night smooth radio, the years have been kind to Arthur’s Theme. As naff as pop could get on release – the rise of MTV killed the singer Christopher Cross’s burgeoning career overnight – the latter-day soft-rock amnesty has allowed people to look beyond the gloss and admit what a fantastic, oddly moving bit of songwriting lies at its centre.

23. Barbra Streisand and Paul Williams – Evergreen (A Star Is Born, 1976)

Barbra Streisand’s second Oscar triumph of the decade: another show-stopping ballad that quickly became an MOR standard, this time from the third remake of A Star Is Born, Evergreen boasted a melody written by Streisand that pulled off the trick of sounding instantly familiar, as if it had always existed.

22. Harry Warren and Mack Gordon – You’ll Never Know (Hello, Frisco, Hello, 1943)

By now, it was obvious that the second world war – and the United State’s involvement therein – was having a profound effect on the country’s songwriting: despite coming from a musical set in 1915, You’ll Never Know was a gorgeous balled steeped in a very pertinent kind of longing and trepidation: “You went away and my heart went with you, I speak your name in every prayer.”

21. Paul Jabara – Last Dance (Thank God It’s Friday, 1978)

The first disco Oscar-winner – nothing from Saturday Night Fever was even nominated – is a prime example of the Donna Summer-Giorgio Moroder partnership at its peak: a ballad that turns into an ecstatic floor-filler and exemplifies the tension between euphoric music and melancholy lyrics almost invariably at the heart of the best disco.

20. Johnny Mandel and Paul Francis Webster – The Shadow of Your Smile (The Sandpiper, 1965)

By the mid-60s, the songs that won Oscars could seem a little stodgy compared with the popular music erupting elsewhere. But Johnny Mandel and Paul Francis Webster’s love theme from The Sandpiper is such a beautiful song it transcends the middle of the road. If you want to hear a hipper version than that of Andy Williams or Tony Bennett, check out the Delfonics’ stunning 1968 soft-soul take.

19. Rodgers and Hammerstein – It Might As Well Be Spring (State Fair, 1945)

Originally from Rogers and Hammerstein’s musical State Fair, there is a compelling argument that It Might As Well Be Spring really came into its own when uncoupled from the soundtrack and reworked as a jazz standard: Sarah Vaughan’s slow, small-hours version on her 1955 album Sarah Vaughan In Hi-Fi wipes the floor with the original, revealing the song in its full glory.

18. Burt Bacharach and Hal David – Raindrops Keep Fallin’ on My Head (Butch Cassidy and the Sundance Kid, 1969)

According to the singer BJ Thomas, Bacharach and David’s song initially received a muted response: released as a single in October 1969, it didn’t become a hit until Butch Cassidy and the Sundance Kid was released two months later, its gentle optimism understandably popular as the 60s drew to a messy end.

17. Ralph Rainger and Leo Robin – Thanks for the Memory (The Big Broadcast of 1938, 1938)

A fond recollection of failed marriage – “parted by a slight thing, I wonder if we did the right thing” – Bob Hope’s signature tune strikes a beautiful note of wistful melancholy. Note that the apparently risqué line about enjoying “hash with Dinty Moore” alas refers only to potatoes: a Dinty Moore is a corned-beef sandwich popular in Detroit.

16. James Horner and Will Jennings – My Heart Will Go On (Titanic, 1997)

Céline Dion hated it and was beset by menstrual cramps while recording it, and Ministry fan James Cameron didn’t want a pop song at the end of Titanic, yet My Heart Will Go On became the powerhouse movie theme to end them all. Not so much a song, as the climax of a song that lasts for five minutes.

15. Ray Evans and Jay Livingston – Que Sera Sera (The Man Who Knew Too Much, 1956)

Alfred Hitchock’s films are seldom celebrated for their abundance of catchy songs, but Que Sera Sera might be the catchiest Oscar-winner of all: it turned its title into a commonly used expression in English and ended up transformed into everything from a football chant to a soul song, the latter by Sly Stone.

14. Kristen Anderson-Lopez and Robert Lopez – Let It Go (Frozen, 2013)

After Can You Feel the Love Tonight, a lot of Disney’s Oscar-winning songs felt anti-climactic. Let It Go, however, ticked every box: it avoided schmaltz, packed a huge, karaoke-friendly chorus, was variously claimed as an LGBTQ+ anthem and an affirmation of autism. Ubiquity followed.

13. Bruce Springsteen – Streets of Philadelphia (Philadelphia, 1993)

The Aids drama Philadelphia spawned two Oscar-nominated songs. It’s a moot point whether Neil Young’s desolate title track should have lost out to Streets of Philadelphia, but Bruce Springsteen’s song, perhaps an easier listen, is magnificent nonetheless: a subtle, brooding examination of illness and loss.

12. Irving Berlin – White Christmas (Holiday Inn, 1942)

It’s hard to imagine now how groundbreaking White Christmas was. It more-or-less invented the modern secular Christmas song, its success revealing a vast market for nostalgic depictions of the festive season. Remarkably, it originally came with a hint of cynicism attached: its opening verse depicted its protagonist sunning himself beneath the palm trees of LA.

11. Marvin Hamlisch, Alan Bergman and Marilyn Bergman – The Way We Were (The Way We Were, 1973)

MOR ballads dominated the Oscars in the 1970s: some are largely forgotten, others became standards. The Way We Were, a heartstring-tugging depiction of a failed relationship that became Barbra Streisand’s theme song, belongs in the latter category. Intriguingly, some critics suggested its regretful tone chimed with America’s post-Vietnam mood.

10. Bob Dylan – Things Have Changed (Wonder Boys, 2000)

No Oscar-winning song has been subjected to as much analysis as Things Have Changed. Dylanologists have picked apart its lyrical allusions and claimed it as everything from a commentary on the actual movie to a prophecy of Armageddon. Whatever, its weary, bewildered tone is supremely affecting and one of Dylan’s greatest contemporary moments.

9. Eminem – Lose Yourself (8 Mile, 2002)

The first hip-hop Oscar-winner might also be Eminem’s best single, focusing his aggression and lyrical talent away from the shock value of bad-taste gags to a beautifully detailed depiction of an amateur rapper at the end of his tether heading into a freestyle battle: “Success is my only motherfucking option.”

8. Elton John and Tim Rice – Can You Feel the Love Tonight? (The Lion King, 1994)

One of three nominations from The Lion King. Elton John thought Circle Of Life should have won; you can see his point, but until Let It Go came along, Can You Feel the Love Tonight? was the unchallenged Disney blockbuster ballad for a reason: it strikes exactly the right balance between tenderness and air-punch-inducing grandiosity.

7. Sammy Fain and Paul Francis Webster – Secret Love (Calamity Jane, 1953)

Recorded by Doris Day in one take and subsequently covered by everyone from Count Basie to George Michael – the latter alighting on its potential as an LGBTQ coming-out anthem – the love theme from Calamity Jane is impossibly sumptuous, its dreamy quality perfectly capturing the mood of lyrics, in which a love presumed unrequited turns out to be requited after all.

6. Michel Legrand, Alan Bergman and Marilyn Bergman – The Windmills of Your Mind (The Thomas Crown Affair, 1968)

The Oscars ignored pop throughout the 60s, dominated instead by songs that could have been written before the second world war. If The Windmills of Your Mind wasn’t pop per se – its roots are in French chanson – it still carries a vague hint of voguish psychedelic weirdness in its lyrics. The vocal by Noel Harrison – a moderately better singer than his father Rex, which isn’t saying much – adds a certain rawness to the sumptuous arrangement.

5. Leigh Harline and Ned Washington – When You Wish Upon a Star (Pinocchio, 1940)

A year after Over the Rainbow came Disney’s equivalent. When You Wish Upon a Star makes for a very weird children’s song indeed – a kind of secular prayer that insists “fate is kind – she brings to those who love the sweet fulfilment of your secret longing” – and it quickly transcended its cartoon origins and reached an adult audience: the model for most of Disney’s big hits since.

4. Isaac Hayes – Theme from Shaft (Shaft, 1971)

In the context of previous Oscar winners, Theme from Shaft feels like a bomb going off: nothing this tough, this funky, this black had ever been nominated, let alone won. A flatly brilliant, vastly influential example of Isaac Hayes’ manifold talents, it’s both cinematic – the lush string arrangement – and unapologetically edgy. A bad mother, as Hayes himself put it.

3. Jerome Kern and Dorothy Fields – The Way You Look Tonight (Swing Time, 1936)

One of the zeniths of the Great American Songbook, The Way You Look Tonight is exquisite; Jerome Kern’s melody reduced his co-writer Dorothy Fields to tears on first hearing, and she responded with a lyric that’s both emotionally complex – there’s a poignant underlying sadness amid the romance – and strikingly simple.

2. Harold Arlen and Yip Harburg – Over the Rainbow (The Wizard of Oz, 1939)

Amazingly, Over the Rainbow was initially cut from The Wizard of Oz in the belief it slowed down the film, which would have been a bizarre fate for a song that subsequently took on a life of its own as an all-purpose anthem of possibility. Incredibly, given its ubiquity, it has never lost its ability to move, evidence that its writers hit on something far deeper and more universal than simply a melody and lyric.

1. Henry Mancini and Johnny Mercer – Moon River (Breakfast at Tiffany’s, 1961)

Trying to make a qualitative judgment about the best Oscar-winning original song is a thankless task. The winners span nine decades, take in umpteen genres and frequently defy comparison of any kind, their sound and their purpose varies so wildly. But Henry Mancini and Johnny Mercer’s Moon River is something else: it’s so perfectly crafted, so melodically rich, its lyrics so simple and evocative, its themes – wanderlust, the passing of time, friendship – so universal and beautifully rendered, it feels about as close to no-further-questions perfection as songwriting gets. It has also proved infinitely malleable – whether performed as jazz, alt-rock, or in the simple guitar and vocal arrangement heard in Breakfast at Tiffany’s, it never fails.

Sours: https://www.theguardian.com/culture/2020/feb/06/oscars-best-original-song-winners-ranked

Academy Award for Best Original Song

Motion picture award for music

The Academy Award for Best Original Song is one of the awards given annually to people working in the motion picture industry by the Academy of Motion Picture Arts and Sciences (AMPAS). It is presented to the songwriters who have composed the best original song written specifically for a film. The performers of a song are not credited with the Academy Award unless they contributed either to music, lyrics, or both in their own right. The songs that are nominated for this award are typically performed during the ceremony and before this award is presented.

The award category was introduced at the 7th Academy Awards, the ceremony honoring the best in film for 1934. Nominations are made by Academy members who are songwriters and composers, and the winners are chosen by the Academy membership as a whole. Fifteen songs are shortlisted before nominations are announced.

Eligibility[edit]

As of 2019[update], the Academy's rules stipulate that "an original song consists of words and music, both of which are original and written specifically for the motion picture. There must be a clearly audible, intelligible, substantive rendition (not necessarily visually presented) of both lyric and melody, used in the body of the motion picture or as the first music cue in the end credits."[1]

The original requirement was only that the nominated song appear in a motion picture during the previous year. This rule was changed after the 1941 Academy Awards, when "The Last Time I Saw Paris", from the film Lady Be Good, with music by Jerome Kern and lyrics by Oscar Hammerstein II, won. Kern was upset that his song won because it had been published and recorded before it was used in the film. Kern was upset because he thought that Blues in the Night by Harold Arlen (Music) and Johnny Mercer (lyrics) should have won. Kern's song was actually written in 1940, after the Germans occupied Paris at the start of World War II. It was recorded by Kate Smith and peaked at No. 8 on the best seller list before it was used in the film.

Kern got the Academy to change the rule so that only songs that are "original and written specifically for the motion picture" are eligible to win.[2][3] Songs that rely on sampled or reworked material along with cover versions, remixes and parodies, such as "Gangsta's Paradise" (which samples "Pastime Paradise" by Stevie Wonder) in the 1995 film Dangerous Minds, are also ineligible.

This rule means that when a film is adapted from a previously produced stage musical, none of the existing songs from the musical are eligible. As a result, many recent film adaptations of musicals have included original songs which could be nominated, such as "You Must Love Me" in the 1996 film Evita (won award), and "Listen", "Love You I Do", "Patience" in the 2006 film Dreamgirls, and "Suddenly" in the 2012 film Les Misérables.

There was a debate as to whether or not Glen Hansard and Marketa Irglova, who were awarded the Oscar in 2008 for "Falling Slowly", were in fact eligible. "Falling Slowly" had been released on two other albums – The Swell Season, Hansard and Irglova's duo project, and The Cost, by Hansard's band The Frames. The Swell Season was released in August 2006, and The Cost in February 2007, before the release of Once. However, the AMPAS music committee determined that, in the course of the film's protracted production, the composers had "played the song in some venues that were deemed inconsequential enough to not change the song's eligibility".[4] The same issue arose two years earlier with "In the Deep" from Crash, which appeared on Bird York's 2003 album The Velvet Hour after being written for Crash, but before the film was released. The current Academy rule says an eligible song "must be recorded for use in the motion picture prior to any other usage", so recordings released prior to the film will not disqualify a song as long as the film version was recorded before then.[3]

Number of nominations[edit]

Until the Academy Awards for 1945 (awarded in 1946) any number of songs could be nominated for the award. For the 1945 awards, 14 songs were nominated.

From 1946 to 2011, each member of the Music Branch of the Academy was asked to vote using a points system of 10, 9.5, 9, 8.5, 8, 7.5, 7, 6.5 or 6 points. Only those songs that received an average score of 8.25 or more were eligible for nomination. If no song qualified, there would be no nominees. And if only one song achieved that score, it and the song receiving the next highest score would be the two nominees.[citation needed] This system usually resulted in five nominations each year, except for 2010 when four were nominated, 1988, 2005, and 2008, when only three were nominated; and 2011 when only two were nominated.[5][6]

Following the two song competition in 2011, the rules were changed once more. The number of nominations is now contingent upon the number of submissions. Depending on the number received by the Academy there would be five, three or no nominations each year.[7] Since then, there have always been five nominees, except in 2013 when one was disqualified.

The first film to receive multiple nominations was Fame in 1980. Only four films have featured three nominated songs: Beauty and the Beast, The Lion King, Dreamgirls, and Enchanted. Dreamgirls and Enchanted lost on every nomination: An Inconvenient Truth original song "I Need to Wake Up" defeated all three of the nominated songs from Dreamgirls, while "Falling Slowly" from Once defeated all three of Enchanted's nominations. After these two consecutive defeats, a new rule was instated in June 2008 that a film could have no more than two songs nominated.[8]

Performances at the awards ceremony[edit]

Nominated songs are usually performed live at the televised Academy Awards ceremonies. Although pre-televised ceremonies were broadcast on the radio, the tradition of performing the nominated songs did not begin until the 18th Academy Awards in 1946, in which performers included Frank Sinatra, Kathryn Grayson, Dinah Shore, and Dick Haymes.

In the early years, the songs were usually not performed by the original artists as in the film. For example, in 1965, Robert Goulet performed all the nominated songs at the ceremony. (In the case of "The Look Of Love", sung by Dusty Springfield in Casino Royale, the positive reaction to the performance by Sergio Mendes & Brasil '66 on the 1968 telecast led to their version being released as a single and eventually becoming the bigger hit.) In 1970, this was reversed and only the people who had performed the piece in the film were permitted to perform the song on the live telecast, even if a hit version was performed by another act.

However, since Oscar nominees for 1970, 1971 and 1972 had all been major hit records by other artists, in 1973 the rule was amended again and it became standard to first offer either the original artist or artists who performed the song in the film a chance to perform it at the ceremony, followed by the artist or artists who had the hit record with it.

When neither of those is able to do so (or in rare cases where the telecast producers decide to go with someone else), the Academy chooses more well-known entertainers to perform the song at the ceremony. For example, Robin Williams performed "Blame Canada" from South Park: Bigger, Longer & Uncut at the 72nd Academy Awards instead of the film's voice actors, Trey Parker and Mary Kay Bergman (Bergman died a few months before the show). Beyoncé Knowles sang three nominated songs (one of which was a duet with Josh Groban) during the 77th Academy Awards even though she had not performed those songs in any of the respective films.

That same year, the song "Al otro lado del río" (On The Other Side Of The River), which was featured in the film The Motorcycle Diaries, won the award, becoming the first song in Spanish and the second in a foreign language to receive such an honor (the first winner was the title tune to Never on Sunday, which was sung in Greek in the film by its star, Melina Mercouri). It was written by Uruguayan composer Jorge Drexler, but the producers would not let Drexler perform the song during the show for fear of losing ratings. Instead, the song was performed by Carlos Santana and Antonio Banderas. Drexler's acceptance speech for the award consisted of him singing a few lines a cappella and closed by simply saying "thank you".

In 1985, Phil Collins was passed over to perform his nominated composition "Against All Odds (Take a Look at Me Now)". According to representatives of both Collins' record company and Columbia Pictures, this was because the producers of the telecast were not familiar with his work. Ann Reinking performed the song instead, with Collins sitting in the audience.[9]

At the 80th Academy Awards, "That's How You Know" from the film Enchanted was performed by Kristin Chenoweth, rather than the film's star, Amy Adams. However, Adams performed "Happy Working Song", which was nominated from the same film.[10]

In 2009, Peter Gabriel, who was originally scheduled to perform his nominated song "Down to Earth" during the live broadcast, declined to perform after learning that he would be allowed to sing only 65 seconds of the song during the ceremony's Best Original Song nominee performance medley.[11] Gabriel still attended the ceremony, with John Legend performing the song in his place, backed by the Soweto Gospel Choir.

The 84th Academy Awards did not feature performances from either nominated song ("Man or Muppet" from The Muppets or "Real in Rio" from Rio).[12] No reason for this was given by Oscar producers. This was only the third time that Best Original Song nominees were not performed (the others were in 1989 and 2010). At the 2013 Oscars, only three of the five nominees were performed, with the eventual winner, the theme from Skyfall, being the only one performed separately on its own as opposed to being part of a musical montage sequence by Adele. The 88th Academy Awards also had three of the five nominees performed. Anohni, performer and writer of "Manta Ray", one of the two nominated songs cut from the ceremony, boycotted the ceremony for this reason.[13]

It was originally announced that the 91st Academy Awards would only feature two live performances due to time constraints: "Shallow" from A Star is Born and "All the Stars" from Black Panther.[14] However, this decision was reversed days later.[15] It was announced soon after that Kendrick Lamar and SZA would no longer perform due to "logistics and timing" issues, making "All the Stars" the only nominee of the four not to be performed live.[16] Rapper Eminem's song "Lose Yourself", which won the award in 2003, was the only nominated song not performed at the ceremony that year. Eminem later gave a surprise performance of the song at the Oscars in 2020. He received a standing ovation following his performance.[17]

In 2021, performances of the nominees for Best Original Song are shown during the ceremony's pre-show, Oscars: Into the Spotlight.

Winners and nominees[edit]

1930s[edit]

1940s[edit]

1950s[edit]

1960s[edit]

1970s[edit]

1980s[edit]

Year Film Song Nominees
1980
(53rd)
[64]
Fame"Fame"Michael Gore(music); Dean Pitchford(lyrics)
9 to 5"9 to 5" Dolly Parton(music & lyrics)
The Competition"People Alone" Lalo Schifrin(music); Will Jennings(lyrics)
Fame"Out Here on My Own" Michael Gore (music); Lesley Gore(lyrics)
Honeysuckle Rose"On the Road Again" Willie Nelson(music & lyrics)
1981
(54th)
[65]
Arthur"Best That You Can Do"Peter Allen, Burt Bacharach, Christopher Cross & Carole Bayer Sager(music & lyrics)
Endless Love"Endless Love" Lionel Richie(music & lyrics)
For Your Eyes Only"For Your Eyes Only" Bill Conti(music); Mick Leeson (lyrics)
The Great Muppet Caper"The First Time It Happens" Joe Raposo(music & lyrics)
Ragtime"One More Hour" Randy Newman(music & lyrics)
1982
(55th)
[66]
An Officer and a Gentleman"Up Where We Belong"Jack Nitzsche & Buffy Sainte-Marie(music); Will Jennings(lyrics)
Best Friends"How Do You Keep the Music Playing?" Michel Legrand(music); Alan & Marilyn Bergman(lyrics)
Rocky III"Eye of the Tiger" Jim Peterik & Frankie Sullivan(music & lyrics)
Tootsie"It Might Be You" Dave Grusin(music); A. & M. Bergman (lyrics)
Yes, Giorgio"If We Were in Love" John Williams(music); A. & M. Bergman (lyrics)
1983
(56th)
[67]
Flashdance"Flashdance... What a Feeling"Giorgio Moroder(music); Irene Cara & Keith Forsey(lyrics)
Flashdance"Maniac" Dennis Matkosky & Michael Sembello(music & lyrics)
Tender Mercies"Over You" Bobby Hart & Austin Roberts(music & lyrics)
Yentl"Papa, Can You Hear Me?" Michel Legrand(music); Alan & Marilyn Bergman(lyrics)
"The Way He Makes Me Feel"
1984
(57th)
[68]
The Woman in Red"I Just Called to Say I Love You"Stevie Wonder(music & lyrics)
Against All Odds"Against All Odds" Phil Collins(music & lyrics)
Footloose"Footloose" Kenny Loggins & Dean Pitchford(music & lyrics)
"Let's Hear It for the Boy" Pitchford & Tom Snow(music & lyrics)
Ghostbusters"Ghostbusters" Ray Parker Jr.(music & lyrics)
1985
(58th)
[69]
White Nights"Say You, Say Me"Lionel Richie(music & lyrics)
Back to the Future"The Power of Love" Johnny Colla & Chris Hayes(music); Huey Lewis(lyrics)
A Chorus Line"Surprise, Surprise" Marvin Hamlisch(music); Ed Kleban(lyrics)
The Color Purple"Sister" Quincy Jones & Rod Temperton(music); Jones, Richie & Temperton (lyrics)
White Nights"Separate Lives" Stephen Bishop(music & lyrics)
1986
(59th)
[70]
Top Gun"Take My Breath Away"Giorgio Moroder(music); Tom Whitlock(lyrics)
An American Tail"Somewhere Out There" James Horner & Barry Mann(music); Cynthia Weil(lyrics)
The Karate Kid Part II"Glory of Love" Peter Cetera & David Foster(music); Cetera & Diane Nini (lyrics)
Little Shop of Horrors"Mean Green Mother from Outer Space" Alan Menken(music); Howard Ashman(lyrics)
That's Life!"Life in a Looking Glass" Henry Mancini(music); Leslie Bricusse(lyrics)
1987
(60th)
[71]
Dirty Dancing"(I've Had) The Time of My Life"John DeNicola, Donald Markowitz & Franke Previte(music); Previte (lyrics)
Beverly Hills Cop II"Shakedown" Harold Faltermeyer & Keith Forsey(music); Faltermeyer, Forsey & Bob Seger(lyrics)
Cry Freedom"Cry Freedom" George Fenton & Jonas Gwangwa(music & lyrics)
Mannequin"Nothing's Gonna Stop Us Now" Albert Hammond & Diane Warren(music & lyrics)
The Princess Bride"Storybook Love" Willy DeVille(music & lyrics)
1988
(61st)
[72]
Working Girl"Let the River Run"Carly Simon(music & lyrics)
Bagdad Cafe"Calling You" Bob Telson(music & lyrics)
Buster"Two Hearts" Lamont Dozier(music); Phil Collins(lyrics)
1989
(62nd)
[73]
The Little Mermaid"Under the Sea"Alan Menken(music); Howard Ashman(lyrics)
Chances Are"After All" Tom Snow(music); Dean Pitchford(lyrics)
The Little Mermaid"Kiss the Girl" Menken (music); Ashman (lyrics)
Parenthood"I Love to See You Smile" Randy Newman(music & lyrics)
Shirley Valentine"The Girl Who Used to Be Me" Marvin Hamlisch(music); Alan Bergman & Marilyn Bergman(lyrics)

1990s[edit]

Year Film Song Nominees
1990
(63rd)
[74]
Dick Tracy"Sooner or Later"Stephen Sondheim(music & lyrics)
The Godfather Part III"Promise Me You'll Remember" Carmine Coppola(music); John Bettis(lyrics)
Home Alone"Somewhere in My Memory" John Williams(music); Leslie Bricusse(lyrics)
Postcards from the Edge"I'm Checkin' Out" Shel Silverstein(music & lyrics)
Young Guns II"Blaze of Glory" Jon Bon Jovi(music & lyrics)
1991
(64th)
[75]
Beauty and the Beast"Beauty and the Beast"Alan Menken(music); Howard Ashman (p.r.) (lyrics)
Beauty and the Beast"Be Our Guest" Menken (music); Ashman (p.n.) (lyrics)
"Belle"
Hook"When You're Alone" John Williams(music); Leslie Bricusse(lyrics)
Robin Hood: Prince of Thieves"(Everything I Do) I Do It for You" Michael Kamen(music); Bryan Adams & Mutt Lange(lyrics)
1992
(65th)
[76]
Aladdin"A Whole New World"Alan Menken(music); Tim Rice(lyrics)
Aladdin"Friend Like Me" Menken (music); Howard Ashman (p.n.) (lyrics)
The Bodyguard"I Have Nothing" David Foster(music); Linda Thompson(lyrics)
"Run to You" Jud J. Friedman (music); Allan Dennis Rich (lyrics)
The Mambo Kings"Beautiful Maria of My Soul" Robert Kraft(music); Arne Glimcher(lyrics)
1993
(66th)
[77]
Philadelphia"Streets of Philadelphia"Bruce Springsteen(music & lyrics)
Beethoven's 2nd"The Day I Fall in Love" James Ingram, Clif Magness & Carole Bayer Sager(music & lyrics)
Philadelphia"Philadelphia" Neil Young(music & lyrics)
Poetic Justice"Again" Janet Jackson, Jimmy Jam & Terry Lewis(music & lyrics)
Sleepless in Seattle"A Wink and a Smile" Marc Shaiman(music); Ramsey McLean (lyrics)
1994
(67th)
[78]
The Lion King"Can You Feel the Love Tonight"Elton John(music); Tim Rice(lyrics)
Junior"Look What Love Has Done" James Newton Howard, James Ingram, Carole Bayer Sager & Patty Smyth(music & lyrics)
The Lion King"Circle of Life" Elton John (music); Tim Rice (lyrics)
"Hakuna Matata"
The Paper"Make Up Your Mind" Randy Newman(music & lyrics)
1995
(68th)
[79]
Pocahontas"Colors of the Wind"Alan Menken(music); Stephen Schwartz(lyrics)
Dead Man Walking"Dead Man Walkin'" Bruce Springsteen(music & lyrics)
Don Juan DeMarco"Have You Ever Really Loved a Woman?" Bryan Adams, Michael Kamen & Mutt Lange(music & lyrics)
Sabrina"Moonlight" John Williams(music); Alan & Marilyn Bergman(lyrics)
Toy Story"You've Got a Friend in Me" Randy Newman(music & lyrics)
1996
(69th)
[80]
Evita"You Must Love Me"Andrew Lloyd Webber(music); Tim Rice(lyrics)
The Mirror Has Two Faces"I Finally Found Someone" Bryan Adams, Marvin Hamlisch, Mutt Lange & Barbra Streisand(music & lyrics)
One Fine Day"For the First Time" Jud J. Friedman, James Newton Howard & Allan Dennis Rich (music & lyrics)
That Thing You Do!"That Thing You Do!" Adam Schlesinger(music & lyrics)
Up Close and Personal"Because You Loved Me" Diane Warren(music & lyrics)
1997
(70th)
[81]
Titanic"My Heart Will Go On"James Horner(music); Will Jennings(lyrics)
Anastasia"Journey to the Past" Stephen Flaherty(music); Lynn Ahrens(lyrics)
Con Air"How Do I Live" Diane Warren(music and lyrics)
Good Will Hunting"Miss Misery" Elliott Smith(music & lyrics)
Hercules"Go the Distance" Alan Menken(music); David Zippel(lyrics)
1998
(71st)
[82]
The Prince of Egypt"When You Believe"Stephen Schwartz(music & lyrics)
Armageddon"I Don't Want to Miss a Thing" Diane Warren(music & lyrics)
Babe: Pig in the City"That'll Do" Randy Newman(music & lyrics)
The Horse Whisperer"A Soft Place to Fall" Allison Moorer & Gwil Owen(music & lyrics)
Quest for Camelot"The Prayer" David Foster & Carole Bayer Sager(music); Foster, Tony Renis, Sager & Alberto Testa(lyrics)
1999
(72nd)
[83]
Tarzan"You'll Be in My Heart"Phil Collins(music & lyrics)
Magnolia"Save Me" Aimee Mann(music & lyrics)
Music of the Heart"Music of My Heart" Diane Warren(music & lyrics)
South Park: Bigger, Longer & Uncut"Blame Canada" Trey Parker & Marc Shaiman(music & lyrics)
Toy Story 2"When She Loved Me" Randy Newman(music & lyrics)

2000s[edit]

Sours: https://en.wikipedia.org/wiki/Academy_Award_for_Best_Original_Song
  1. Honda 125 plastics
  2. Tiger hand towel
  3. Wealth ring

Academy Award for Best Original Score

Motion picture award for music

The Academy Award for Best Original Score is an award presented annually by the Academy of Motion Picture Arts and Sciences (AMPAS) to the best substantial body of music in the form of dramatic underscoring written specifically for the film by the submitting composer.[1] Some pre-existing music is allowed, though, but a contending film must include a minimum of original music. This minimum since 2020 is established in 60% of the music, which is raised to 80% for sequels and franchise films.[2] Fifteen scores are shortlisted before nominations are announced.

History[edit]

The Academy began awarding movies for their scores in 1935. The category was originally called Best Scoring. At the time, winners and nominees were a mix of original scores and adaptations of pre-existing material. Following the controversial win of Charles Previn for One Hundred Men and a Girl in 1938, a film without a credited composer that featured pre-existing classical music, the Academy added a Best Original Score category in 1939.[3] In 1942, the distinction between the two Scoring categories changed slightly as they were renamed to Best Music Score of a Dramatic Picture and Best Scoring of a Musical Picture.[4] This marked the first time the category was split into separate genres, a distinction that technically still lasts today, although there haven't been enough submissions for the musical category to be activated since 1985. From 1942 to 1985, musical scores had their own category, with the exception of 1958, 1981, and 1982. During that time, both categories had many name changes:

1. Non-musical scores

  • Best Music Score of a Dramatic Picture (1942)
  • Best Music Score of a Dramatic or Comedy Picture (1943–1962)
  • Best Music Score—substantially original (1963–1966)
  • Best Original Music Score (1967–1968)
  • Best Original Score—for a motion picture [not a musical] (1969–1970)
  • Best Original Score (1971, 1976–1995, 2000-today)
  • Best Original Dramatic Score (1972–1975, 1996–1999)

2. Musical scores

  • Best Scoring of a Musical Picture (1942–1962)
  • Best Scoring of Music—adaptation or treatment (1963–1968)
  • Best Score of a Musical Picture—original or adaptation (1969–1970)
  • Best Original Song Score (1971)
  • Best Scoring: Adaptation and Original Song Score (1972–1973)
  • Best Scoring: Original Song Score and Adaptation -or- Scoring: Adaptation (1974–1976)
  • Best Original Song Score and Its Adaptation or Adaptation Score (1977–1978)
  • Best Adaptation Score (1979)
  • Best Original Song Score and Its Adaptation -or- Adaptation Score (1980, 1983)
  • Best Original Song Score or Adaptation Score (1984)
  • Best Original Song Score (1985)
  • Best Original Musical or Comedy Score (1996–1999)

Following the wins of four Walt Disney Feature Animation films in six years from 1990 to 1995 (The Little Mermaid, Beauty and the Beast, Aladdin, and The Lion King) during a period called the Disney Renaissance, it was decided to once again split the Best Original Score category by genres, this time by combining comedies and musicals together. As Alan Bergman, the chairman of the Academy's music branch said, "People were voting for the songs, not the underscores. We felt that Academy members outside the music branch didn't distinguish between the two. So when a score like The Lion King is competing against a drama like Forrest Gump, it's apples and oranges – not in the quality of the score, but in the way it functions in the movie. There's a big difference."[5] The category was therefore split into Best Original Dramatic Score and Best Original Musical or Comedy Score in 1996. This change proved unpopular in the other branches of the Academy as Charles Bernstein, chairman of the Academy's rules committee, noted that "no other Oscar category depended on a film's genre" and "the job of composing an underscore for a romantic comedy is not substantially different from working on a heavy drama."[5] This split was reverted in 2000.

In 2020, rules were changed to require that a film's score include a minimum of 60% original music. Franchise films and sequels must include a minimum of 80% new music.[6] In 2021, the rules were changed again, lowering the minimum percentage of original music from 60% to 35% of the total music in the film.[7]

Academy Award for Best Original Musical[edit]

The Academy Award for Best Original Musical is a category that was re-established in 2000 after the Best Original Musical or Comedy Score category was retired. It has never been awarded in its present form due to a prolonged drought of films meeting the sufficient eligibility requirements. The Music Branch Executive Committee of the Academy decides whether there are enough quality submissions to justify its activation.[8]

According to the rules, the Best Original Musical is defined as follows:

An original musical consists of not fewer than five original songs by the same writer or team of writers, either used as voiceovers or visually performed. Each of these songs must be substantively rendered, clearly audible, intelligible, and must further the storyline of the motion picture. An arbitrary group of songs unessential to the storyline will not be considered eligible.[8]

Winners and nominees[edit]

The following is the list of nominated composers organized by year, and listing both films and composers. The years shown in the following list of winners are the production years, thus a reference to 1967 means the Oscars presented in 1968 for films released in 1967.

1930s[edit]

Year Film Nominees
1934
(7th)
[note 1]
One Night of LoveColumbia Studio Music Department, Louis Silvers, head of department (Thematic music by Victor Schertzinger & Gus Kahn)
The Gay DivorceeRKO Radio Studio Music Department, Max Steiner, head of department (Score by Kenneth Webb & Sam Hoffenstein)
The Lost PatrolRKO Radio Studio Music Department, Steiner, head of department (Score by Steiner)
1935
(8th)
The InformerRKO Radio Studio Music Department, Max Steiner, head of department (Score by Steiner)
Captain Blood (Write-in)[note 2][9]Warner Bros.-First National Studio Music Department, Leo F. Forbstein, head of department (Score by Erich Wolfgang Korngold)
Mutiny on the BountyMetro-Goldwyn-Mayer Studio Music Department, Nat W. Finston, head of department (Score by Herbert Stothart)
Peter IbbetsonParamount Studio Music Department, Irvin Talbot, head of department (Score by Ernst Toch)
1936
(9th)
Anthony AdverseWarner Bros. Studio Music Department, Leo F. Forbstein, head of department (Score by Erich Wolfgang Korngold)
The Charge of the Light BrigadeWarner Bros. Studio Music Department, Forbstein, head of department (Score by Max Steiner)
The Garden of AllahSelznick International Pictures Music Department, Steiner, head of department (Score by Steiner)
The General Died at DawnParamount Studio Music Department, Boris Morros, head of department (Score by Werner Janssen)
WintersetRKO Radio Studio Music Department, Nathaniel Shilkret, head of department (Score by Shilkret)
1937
(10th)
[note 3]
One Hundred Men and a GirlUniversal Studio Music Department, Charles Previn, head of department (no composer credit)
The HurricaneSamuel Goldwyn Studio Music Department, Alfred Newman, head of department (Score by Newman)
In Old Chicago20th Century-Fox Studio Music Department, Louis Silvers, head of department (no composer credit)
The Life of Emile ZolaWarner Bros. Studio Music Department, Leo F. Forbstein, head of department (Score by Max Steiner)
Lost HorizonColumbia Studio Music Department, Morris Stoloff, head of department (Score by Dimitri Tiomkin)
Make a WishPrincipal Productions, Hugo Riesenfeld, head of department (Score by Riesenfeld)
MaytimeMetro-Goldwyn-Mayer Studio Music Department, Nat W. Finston, head of department (Score by Herbert Stothart)
Portia on TrialRepublic Studio Music Department, Alberto Colombo, head of department (Score by Colombo)
The Prisoner of ZendaSelznick International Pictures Music Department, Alfred Newman, head of department (Score by Newman)
Quality StreetRKO Radio Studio Music Department, Roy Webb, head of department (Score by Webb)
Snow White and the Seven DwarfsWalt Disney Studio Music Department, Leigh Harline, head of department (Score by Frank Churchill, Harline & Paul Smith)
Something to Sing AboutGrand National Studio Music Department, Constantin Bakaleinikoff, head of department (Score by Victor Schertzinger)
Souls at SeaParamount Studio Music Department, Boris Morros, head of department (Score by W. Franke Harling & Milan Roder)
Way Out WestHal Roach Studio Music Department, Marvin Hatley, head of department (Score by Hatley)
1938
(11th)
Original Score
The Adventures of Robin HoodErich Wolfgang Korngold
Army GirlVictor Young
Block-HeadsMarvin Hatley
BlockadeWerner Janssen
Breaking the IceYoung
The Cowboy and the LadyAlfred Newman
If I Were KingRichard Hageman
Marie AntoinetteHerbert Stothart
Pacific LinerRussell Bennett
SuezLouis Silvers
The Young in HeartFranz Waxman
Scoring
Alexander's Ragtime BandNewman
CarefreeVictor Baravalle
Girls' SchoolMorris Stoloff & Gregory Stone
The Goldwyn FolliesNewman
JezebelMax Steiner
Mad About MusicCharles Previn & Frank Skinner
Storm Over BengalCy Feuer
SweetheartsHerbert Stothart
There Goes My HeartMarvin Hatley
Tropic HolidayBoris Morros
The Young in HeartWaxman
1939
(12th)
Original Score
The Wizard of OzHerbert Stothart
Dark VictoryMax Steiner
Eternally YoursWerner Janssen
Golden BoyVictor Young
Gone with the WindSteiner
Gulliver's TravelsYoung
The Man in the Iron MaskLud Gluskin & Lucien Moraweck
Man of ConquestYoung
Nurse Edith CavellAnthony Collins
Of Mice and MenAaron Copland
The Rains CameAlfred Newman
Wuthering Heights
Scoring
StagecoachRichard Hageman, W. Franke Harling, John Leipold & Leo Shuken
Babes in ArmsRoger Edens & Georgie Stoll
First LoveCharles Previn
The Great Victor HerbertPhil Boutelje & Arthur Lange
The Hunchback of Notre DameNewman
IntermezzoLou Forbes
Mr. Smith Goes to WashingtonDimitri Tiomkin
Of Mice and MenAaron Copland
The Private Lives of Elizabeth and EssexErich Wolfgang Korngold
She Married a CopCy Feuer
Swanee RiverLouis Silvers
They Shall Have MusicNewman
Way Down SouthYoung

1940s[edit]

Year Film Nominees
1940
(13th)
Original Score
PinocchioLeigh Harline, Paul Smith & Ned Washington
ArizonaVictor Young
Dark Command
The Fight for LifeLouis Gruenberg
The Great DictatorMeredith Willson
The House of the Seven GablesFrank Skinner
The Howards of VirginiaRichard Hageman
The LetterMax Steiner
The Long Voyage HomeHageman
The Mark of ZorroAlfred Newman
My Favorite WifeRoy Webb
North West Mounted PoliceYoung
One Million B.C.Werner Heymann
Our TownAaron Copland
RebeccaFranz Waxman
The Thief of BagdadMiklós Rózsa
Waterloo BridgeHerbert Stothart
Scoring
Tin Pan AlleyNewman
Arise, My LoveYoung
Hit Parade of 1941Cy Feuer
IreneAnthony Collins
Our TownCopland
The Sea HawkErich Wolfgang Korngold
Second ChorusArtie Shaw
Spring ParadeCharles Previn
Strike Up the BandRoger Edens & Georgie Stoll
1941
(14th)
Music Score of a Dramatic or Comedy Picture
The Devil and Daniel WebsterBernard Herrmann
Back StreetFrank Skinner
Ball of FireAlfred Newman
Cheers for Miss BishopEdward Ward
Citizen KaneHerrmann
Dr. Jekyll and Mr. HydeFranz Waxman
Hold Back the DawnVictor Young
How Green Was My ValleyNewman
King of the ZombiesEdward Kay
Ladies in RetirementMorris Stoloff & Ernst Toch
The Little FoxesMeredith Willson
LydiaMiklós Rózsa
Mercy IslandCy Feuer & Walter Scharf
Sergeant YorkMax Steiner
So Ends Our NightLouis Gruenberg
SundownRózsa
SuspicionWaxman
Tanks a MillionWard
That Uncertain FeelingWerner Heymann
This Woman Is MineRichard Hageman
Scoring of a Musical Picture
DumboFrank Churchill & Oliver Wallace
All-American Co-EdWard
Birth of the BluesRobert E. Dolan
Buck PrivatesCharles Previn
The Chocolate SoldierHerbert Stothart & Bronisław Kaper
Ice-CapadesCy Feuer
The Strawberry BlondeHeinz Roemheld
Sun Valley SerenadeEmil Newman
SunnyAnthony Collins
You'll Never Get RichMorris Stoloff
1942
(15th)
Music Score of a Dramatic or Comedy Picture
Now, VoyagerMax Steiner
Arabian NightsFrank Skinner
BambiFrank Churchill(p.n.) & Edward Plumb
The Black SwanAlfred Newman
The Corsican BrothersDimitri Tiomkin
Flying TigersVictor Young
The Gold RushMax Terr
I Married a WitchRoy Webb
Joan of Paris
Jungle BookMiklós Rózsa
Klondike FuryEdward Kay
The Pride of the YankeesLeigh Harline
Random HarvestHerbert Stothart
The Shanghai GestureRichard Hageman
Silver QueenVictor Young
Take a Letter, Darling
The Talk of the TownFriedrich Hollaender & Morris Stoloff
To Be or Not to BeWerner Heymann
Scoring of a Musical Picture
Yankee Doodle DandyRay Heindorf & Heinz Roemheld
Flying with MusicEdward Ward
For Me and My GalRoger Edens & Georgie Stoll
Holiday InnRobert E. Dolan
It Started with EveHans J. Salter & Charles Previn
Johnny DoughboyWalter Scharf
My Gal SalAlfred Newman
You Were Never LovelierLeigh Harline
1943
(16th)
Music Score of a Dramatic or Comedy Picture
The Song of BernadetteAlfred Newman
The Amazing Mrs. HollidayFrank Skinner & Hans J. Salter
CasablancaMax Steiner
Commandos Strike at DawnMorris Stoloff & Louis Gruenberg
The Fallen SparrowRoy Webb & Constantin Bakaleinikoff
For Whom the Bell TollsVictor Young
Hangmen Also Die!Hanns Eisler
Hi Diddle DiddlePhil Boutelje
In Old OklahomaWalter Scharf
Johnny Come LatelyLeigh Harline
The KansanGerard Carbonara
Lady of BurlesqueArthur Lange
Madame CurieHerbert Stothart
The Moon and SixpenceDimitri Tiomkin
The North StarAaron Copland
Victory Through Air PowerEdward Plumb, Paul Smith & Oliver Wallace
Scoring of a Musical Picture
This Is the ArmyRay Heindorf
Coney IslandAlfred Newman
Hit Parade of 1943Walter Scharf
Phantom of the OperaEdward Ward
Saludos AmigosPlumb, Smith & Charles Wolcott
The Sky's the LimitLeigh Harline
Something to Shout AboutMorris Stoloff
Stage Door CanteenFred Rich
Star Spangled RhythmRobert E. Dolan
Thousands CheerHerbert P. Stothart
1944
(17th)
Music Score of a Dramatic or Comedy Picture
Since You Went AwayMax Steiner
Address UnknownMorris Stoloff & Ernst Toch
The Adventures of Mark TwainSteiner
The Bridge of San Luis ReyDimitri Tiomkin
Casanova BrownArthur Lange
Christmas HolidayHans J. Salter
Double IndemnityMiklós Rózsa
The Fighting SeabeesWalter Scharf & Roy Webb
The Hairy ApeMichel Michelet & Edward Paul
It Happened TomorrowRobert Stolz
Jack LondonFred Rich
KismetHerbert Stothart
None but the Lonely HeartConstantin Bakaleinikoff & Hanns Eisler
The Princess and the PirateDavid Rose
Summer StormKarl Hajos
Three Russian GirlsFranke Harling
Up in Mabel's RoomEdward Paul
Voice in the WindMichel Michelet
WilsonAlfred Newman
The Woman of the TownMiklós Rózsa
Scoring of a Musical Picture
Cover GirlMorris Stoloff & Carmen Dragon
BrazilWalter Scharf
Higher and HigherBakaleinikoff
Hollywood CanteenRay Heindorf
Irish Eyes Are SmilingNewman
Knickerbocker HolidayWerner Heymann & Kurt Weill
Lady in the DarkRobert Emmett Dolan
Lady, Let's DanceEdward Kay
Meet Me in St. LouisGeorgie Stoll
The Merry MonahansHans J. Salter
Minstrel ManFerde Grofé & Leo Erdody
Sensations of 1945Mahlon Merrick
Song of the Open RoadCharles Previn
Up in ArmsLouis Forbes & Ray Heindorf
1945
(18th)
Music Score of a Dramatic or Comedy Picture
SpellboundMiklós Rózsa
The Bells of St. Mary'sRobert E. Dolan
Brewster's MillionsLouis Forbes
Captain KiddWerner Janssen
The Enchanted CottageRoy Webb
Flame of Barbary CoastMorton Scott & Dale Butts
G. I. HoneymoonEdward J. Kay
G. I. JoeLouis Applebaum & Ann Ronell
Guest in the HouseJanssen
Guest WifeDaniele Amfitheatrof
The Keys of the KingdomAlfred Newman
The Lost WeekendMiklós Rózsa
Love LettersVictor Young
The Man Who Walked AloneKarl Hajos
Objective, Burma!Franz Waxman
Paris UndergroundAlexandre Tansman
A Song to RememberRózsa & Morris Stoloff
The SouthernerWerner Janssen
This Love of OursHans J. Salter
The Valley of DecisionHerbert Stothart
The Woman in the WindowArthur Lange & Hugo Friedhofer
Scoring of a Musical Picture
Anchors AweighGeorgie Stoll
Belle of the YukonLange
Can't Help SingingJerome Kern(p.n.) & Salter
Hitchhike to HappinessMorton Scott
Incendiary BlondeRobert E. Dolan
Rhapsody in BlueRay Heindorf & Max Steiner
State FairAlfred Newman & Charles Henderson
Sunbonnet SueEdward J. Kay
The Three CaballerosEdward Plumb, Paul Smith & Charles Wolcott
Tonight and Every NightMarlin Skiles & Morris Stoloff
Why Girls Leave HomeWalter Greene
Wonder ManLouis Forbes & Ray Heindorf
1946
(19th)
Music Score of a Dramatic or Comedy Picture
The Best Years of Our LivesHugo Friedhofer
Anna and the King of SiamBernard Herrmann
Henry VWilliam Walton
HumoresqueFranz Waxman
The KillersMiklós Rózsa
Scoring of a Musical Picture
The Jolson StoryMorris Stoloff
Blue SkiesRobert Emmett Dolan
Centennial SummerAlfred Newman
The Harvey GirlsLennie Hayton
Night and DayRay Heindorf & Max Steiner
1947
(20th)
Music Score of a Dramatic or Comedy Picture
A Double LifeMiklós Rózsa
The Bishop's WifeHugo Friedhofer
Captain from CastileAlfred Newman
Forever AmberDavid Raksin
Life with FatherMax Steiner
Scoring of a Musical Picture
Mother Wore TightsAlfred Newman
FiestaJohnny Green
My Wild Irish RoseRay Heindorf & Max Steiner
Road to RioRobert Emmett Dolan
Song of the SouthDaniele Amfitheatrof, Paul Smith & Charles Wolcott
1948
(21st)
Music Score of a Dramatic or Comedy Picture
The Red ShoesBrian Easdale
HamletWilliam Walton
Joan of ArcHugo Friedhofer
Johnny BelindaMax Steiner
The Snake PitAlfred Newman
Scoring of a Musical Picture
Easter ParadeJohnny Green & Roger Edens
The Emperor WaltzVictor Young
The PirateLennie Hayton
Romance on the High SeasRay Heindorf
When My Baby Smiles at MeAlfred Newman
1949
(22nd)
Music Score of a Dramatic or Comedy Picture
The HeiressAaron Copland
Beyond the ForestMax Steiner
ChampionDimitri Tiomkin
Scoring of a Musical Picture
On the TownRoger Edens & Lennie Hayton
Jolson Sings AgainMorris Stoloff & George Duning
Look for the Silver LiningRay Heindorf

1950s[edit]

1960s[edit]

Year Film Nominees
1960
(33rd)
Music Score of a Dramatic or Comedy Picture
ExodusErnest Gold
The AlamoDimitri Tiomkin
Elmer GantryAndré Previn
The Magnificent SevenElmer Bernstein
SpartacusAlex North
Scoring of a Musical Picture
Song Without EndMorris Stoloff & Harry Sukman
Bells Are RingingAndré Previn
Can-CanNelson Riddle
Let's Make LoveEarle Hagen & Lionel Newman
PepeJohnny Green
1961
(34th)
Music Score of a Dramatic or Comedy Picture
Breakfast at Tiffany'sHenry Mancini
El CidMiklós Rózsa
FannyMorris Stoloff & Harry Sukman
The Guns of NavaroneDimitri Tiomkin
Summer and SmokeElmer Bernstein
Scoring of a Musical Picture
West Side StorySaul Chaplin, Johnny Green, Irwin Kostal & Sid Ramin
Babes in ToylandGeorge Bruns
Flower Drum SongKen Darby & Alfred Newman
KhovanshchinaDmitri Shostakovich
Paris BluesDuke Ellington
1962
(35th)
Music Score — Substantially Original
Lawrence of ArabiaMaurice Jarre
FreudJerry Goldsmith
Mutiny on the BountyBronisław Kaper
Taras BulbaFranz Waxman
To Kill a MockingbirdElmer Bernstein
Scoring of Music — Adaptation or Treatment
The Music ManRay Heindorf
Billy Rose's JumboGeorgie Stoll
GigotMichel Magne
GypsyFrank Perkins
The Wonderful World of the Brothers GrimmLeigh Harline
1963
(36th)
Music Score — Substantially Original
Tom JonesJohn Addison
55 Days at PekingDimitri Tiomkin
CleopatraAlex North
How the West Was WonKen Darby & Alfred Newman
It's a Mad, Mad, Mad, Mad WorldErnest Gold
Scoring of Music — Adaptation or Treatment
Irma la DouceAndré Previn
Bye Bye BirdieJohnny Green
A New Kind of LoveLeith Stevens
Sundays and CybeleMaurice Jarre
The Sword in the StoneGeorge Bruns
1964
(37th)
Music Score — Substantially Original
Mary PoppinsSherman Brothers
BecketLaurence Rosenthal
The Fall of the Roman EmpireDimitri Tiomkin
Hush...Hush, Sweet CharlotteDe Vol
The Pink PantherHenry Mancini
Scoring of Music — Adaptation or Treatment
My Fair LadyAndré Previn
A Hard Day's NightGeorge Martin
Mary PoppinsIrwin Kostal
Robin and the 7 HoodsNelson Riddle
The Unsinkable Molly BrownRobert Armbruster, Leo Arnaud, Jack Elliott, Jack Hayes, Calvin Jackson & Leo Shuken
1965
(38th)
Music Score — Substantially Original
Doctor ZhivagoMaurice Jarre
The Agony and the EcstasyAlex North
The Greatest Story Ever ToldAlfred Newman
A Patch of BlueJerry Goldsmith
The Umbrellas of CherbourgJacques Demy & Michel Legrand
Scoring of Music — Adaptation or Treatment
The Sound of MusicIrwin Kostal
Cat BallouDe Vol
The Pleasure SeekersSandy Courage & Lionel Newman
A Thousand ClownsDon Walker
The Umbrellas of CherbourgLegrand
1966
(39th)
Original Music Score
Born FreeJohn Barry
The Bible: In the Beginning...Toshiro Mayuzumi
HawaiiElmer Bernstein
The Sand PebblesJerry Goldsmith
Who's Afraid of Virginia Woolf?Alex North
Scoring of Music — Adaptation or Treatment
A Funny Thing Happened on the Way to the ForumKen Thorne
The Gospel According to St. MatthewLuis Bacalov
Return of the SevenBernstein
The Singing NunHarry Sukman
Stop the World – I Want to Get OffAl Ham
1967
(40th)
Original Music Score
Thoroughly Modern MillieElmer Bernstein
Cool Hand LukeLalo Schifrin
Doctor DolittleLeslie Bricusse
Far from the Madding CrowdRichard Rodney Bennett
In Cold BloodQuincy Jones
Scoring of Music — Adaptation or Treatment
CamelotKen Darby & Alfred Newman
Doctor DolittleSandy Courage & Lionel Newman
Guess Who's Coming to DinnerDe Vol
Thoroughly Modern MillieJoseph Gershenson & André Previn
Valley of the DollsJohn Williams
1968
(41st)
Original Score — For a Motion Picture (Not a Musical)
The Lion in WinterJohn Barry
The FoxLalo Schifrin
Planet of the ApesJerry Goldsmith
The Shoes of the FishermanAlex North
The Thomas Crown AffairMichel Legrand
Scoring of a Musical Picture — Original or Adaptation
Oliver!Johnny Green(adaptation score)
Finian's RainbowRay Heindorf(adaptation score)
Funny GirlWalter Scharf(adaptation score)
Star!Lennie Hayton(adaptation score)
The Young Girls of RochefortLegrand (music & adaptation score) & Jacques Demy(lyrics)
1969
(42nd)
Original Score — For a Motion Picture (Not a Musical)
Butch Cassidy and the Sundance KidBurt Bacharach
Anne of the Thousand DaysGeorges Delerue
The ReiversJohn Williams
The Secret of Santa VittoriaErnest Gold
The Wild BunchJerry Fielding
Scoring of a Musical Picture — Original or Adaptation
Hello, Dolly!Lennie Hayton & Lionel Newman(adaptation score)
Goodbye, Mr. ChipsLeslie Bricusse(music & lyrics) & John Williams (adaptation score)
Paint Your WagonNelson Riddle(adaptation score)
Sweet CharityCy Coleman(adaptation score)
They Shoot Horses, Don't They?Johnny Green & Albert Woodbury (adaptation score)

1970s[edit]

Year Film Nominees
1970
(43rd)
Original Score
Love StoryFrancis Lai
AirportAlfred Newman(p.n.)
CromwellFrank Cordell
PattonJerry Goldsmith
SunflowerHenry Mancini
Original Song Score
Let It BeThe Beatles(music & lyrics)
The Baby MakerFred Karlin(music) & Tylwyth Kymry (lyrics)
A Boy Named Charlie BrownRod McKuen(music & lyrics), John Scott Trotter(music), Bill Melendez, Al Shean (lyrics), Vince Guaraldi(adaptation score)
Darling LiliHenry Mancini(music) & Johnny Mercer(lyrics)
ScroogeLeslie Bricusse(music & lyrics), Ian Fraser & Herbert W. Spencer(adaptation score)
1971
(44th)
Original Dramatic Score
Summer of '42Michel Legrand
Mary, Queen of ScotsJohn Barry
Nicholas and AlexandraRichard Rodney Bennett
ShaftIsaac Hayes
Straw DogsJerry Fielding
Scoring: Adaptation and Original Song Score
Fiddler on the RoofJohn Williams(adaptation score)
Bedknobs and BroomsticksSherman Brothers(song score) & Irwin Kostal(adaptation score)
The Boy FriendPeter Maxwell Davies & Peter Greenwell(adaptation score)
TchaikovskyDimitri Tiomkin(adaptation score)
Willy Wonka & the Chocolate FactoryLeslie Bricusse & Anthony Newley(song score) & Walter Scharf(adaptation score)
1972
(45th)
Original Dramatic Score
Limelight[note 6]Charlie Chaplin, Raymond Rasch(p.r.) & Larry Russell(p.r.)
(Rescinded) [note 7][11]Nino Rota
ImagesJohn Williams
Napoleon and SamanthaBuddy Baker
The Poseidon AdventureJohn Williams
SleuthJohn Addison
Scoring: Adaptation and Original Song Score
CabaretRalph Burns(adaptation score)
Lady Sings the BluesGil Askey(adaptation score)
Man of La ManchaLaurence Rosenthal(adaptation score)
1973
(46th)
Original Dramatic Score
The Way We WereMarvin Hamlisch
Cinderella LibertyJohn Williams
The Day of the DolphinGeorges Delerue
PapillonJerry Goldsmith
A Touch of ClassJohn Cameron
Scoring: Original Song Score and Adaptation or Scoring: Adaptation
The StingMarvin Hamlisch(adaptation score)
Jesus Christ SuperstarAndré Previn, Herbert W. Spencer & Andrew Lloyd Webber(adaptation score)
Tom SawyerSherman Brothers(song score) & Williams (adaptation score)
1974
(47th)
Original Dramatic Score
The Godfather Part IINino Rota & Carmine Coppola
ChinatownJerry Goldsmith
Murder on the Orient ExpressRichard Rodney Bennett
ShanksAlex North
The Towering InfernoJohn Williams
Scoring: Original Song Score and Adaptation or Scoring: Adaptation
The Great GatsbyNelson Riddle(adaptation score)
The Little PrinceAlan Jay Lerner & Frederick Loewe(song score), Douglas Gamley & Angela Morley(adaptation score)
Phantom of the ParadisePaul Williams(song & adaptation score) & George Tipton(adaptation score)
1975
(48th)
Original Score
JawsJohn Williams
Birds Do It, Bees Do ItGerald Fried
Bite the BulletAlex North
One Flew Over the Cuckoo's NestJack Nitzsche
The Wind and the LionJerry Goldsmith
Scoring: Original Song Score and Adaptation or Scoring: Adaptation
Barry LyndonLeonard Rosenman(adaptation score)
Funny LadyPeter Matz(adaptation score)
TommyPete Townshend(adaptation score)
1976
(49th)
Original Score
The OmenJerry Goldsmith
ObsessionBernard Herrmann(p.n.)
The Outlaw Josey WalesJerry Fielding
Taxi DriverBernard Herrmann(p.n.)
Voyage of the DamnedLalo Schifrin
Original Song Score and Its Adaptation or Adaptation Score
Bound for GloryLeonard Rosenman(adaptation score)
Bugsy MalonePaul Williams(song & adaptation score)
A Star Is BornRoger Kellaway(adaptation score)
1977
(50th)
Original Score
Star WarsJohn Williams
Close Encounters of the Third KindJohn Williams
JuliaGeorges Delerue
Mohammad, Messenger of GodMaurice Jarre
The Spy Who Loved MeMarvin Hamlisch
Original Song Score and Its Adaptation or Adaptation Score
A Little Night MusicJonathan Tunick(adaptation score)
Pete's DragonJoel Hirschhorn & Al Kasha(song score) & Irwin Kostal(adaptation score)
The Slipper and the RoseSherman Brothers(song score) & Angela Morley(adaptation score)
1978
(51st)
Original Score
Midnight ExpressGiorgio Moroder
The Boys from BrazilJerry Goldsmith
Days of HeavenEnnio Morricone
Heaven Can WaitDave Grusin
SupermanJohn Williams
Adaptation Score
The Buddy Holly StoryJoe Renzetti
Pretty BabyJerry Wexler
The WizQuincy Jones
1979
(52nd)
Original Score
A Little RomanceGeorges Delerue
10Henry Mancini
The Amityville HorrorLalo Schifrin
The ChampDave Grusin
Star Trek: The Motion PictureJerry Goldsmith
Original Song Score and Its Adaptation or Adaptation Score
All That JazzRalph Burns(adaptation score)
Breaking AwayPatrick Williams(adaptation score)
The Muppet MoviePaul Williams(song & adaptation score) & Kenny Ascher(song score)

1980s[edit]

Year Film Nominees
1980
(53rd)
FameMichael Gore
Altered StatesJohn Corigliano
The Elephant ManJohn Morris
The Empire Strikes BackJohn Williams
TessPhilippe Sarde
1981
(54th)
Chariots of FireVangelis
DragonslayerAlex North
On Golden PondDave Grusin
RagtimeRandy Newman
Raiders of the Lost ArkJohn Williams
1982
(55th)
Original Score
E.T. the Extra-TerrestrialJohn Williams
GandhiGeorge Fenton & Ravi Shankar
An Officer and a GentlemanJack Nitzsche
PoltergeistJerry Goldsmith
Sophie's ChoiceMarvin Hamlisch
Original Song Score and Its Adaptation or Adaptation Score
Victor/VictoriaHenry Mancini(song & adaptation score) & Leslie Bricusse(song score)
AnnieRalph Burns(adaptation score)
One from the HeartTom Waits(song score)
1983
(56th)
Original Score
The Right StuffBill Conti
Cross CreekLeonard Rosenman
Return of the JediJohn Williams
Terms of EndearmentMichael Gore
Under FireJerry Goldsmith
Original Song Score and Its Adaptation or Adaptation Score
YentlMichel Legrand(song & adaptation score) & Alan & Marilyn Bergman(song score)
The Sting IILalo Schifrin(adaptation score)
Trading PlacesElmer Bernstein(adaptation score)
1984
(57th)
Original Score
A Passage to IndiaMaurice Jarre
Indiana Jones and the Temple of DoomJohn Williams
The NaturalRandy Newman
The RiverJohn Williams
Under the VolcanoAlex North
Original Song Score
Purple RainPrince
The Muppets Take ManhattanJeff Moss
SongwriterKris Kristofferson
1985
(58th)
Out of AfricaJohn Barry
Agnes of GodGeorges Delerue
The Color PurpleChris Boardman, Jorge Calandrelli, Andraé Crouch, Jack Hayes, Jerry Hey, Quincy Jones, Randy Kerber, Jeremy Lubbock, Joel Rosenbaum, Caiphus Semenya, Fred Steiner & Rod Temperton
SilveradoBruce Broughton
WitnessMaurice Jarre
1986
(59th)
Round MidnightHerbie Hancock
AliensJames Horner
HoosiersJerry Goldsmith
The MissionEnnio Morricone
Star Trek IV: The Voyage HomeLeonard Rosenman
1987
(60th)
The Last EmperorRyuichi Sakamoto, David Byrne & Cong Su
Cry FreedomGeorge Fenton & Jonas Gwangwa
Empire of the SunJohn Williams
The UntouchablesEnnio Morricone
The Witches of EastwickJohn Williams
1988
(61st)
The Milagro Beanfield WarDave Grusin
The Accidental TouristJohn Williams
Dangerous LiaisonsGeorge Fenton
Gorillas in the MistMaurice Jarre
Rain ManHans Zimmer
1989
(62nd)
The Little MermaidAlan Menken
Born on the Fourth of JulyJohn Williams
The Fabulous Baker BoysDave Grusin
Field of DreamsJames Horner
Indiana Jones and the Last CrusadeJohn Williams

1990s[edit]

Sours: https://en.wikipedia.org/wiki/Academy_Award_for_Best_Original_Score
30 Minutes of Awards Music For Nomination Show \u0026 Grand Openings Compilation

Which scores have won best soundtrack at the Oscars? All the winning scores from the last 50 years

Discover all the winners of the prestigious Best Original Score category at the Oscars, from the last 50 years – half a decade of fantastic movie soundtracks!

  1. Soul Disney movie

    1. Soul – Jon Batiste, Trent Reznor and Atticus Ross

    2021: Three musical greats picked up the Best Score award for Disney and Pixar’s animation about a jazz musician who winds up trapped in an alternate world, and must connect to his true purpose on Earth to find his way out.

  2. Hildur Guðnadóttir wins Oscar for Joker

    2. Joker – Hildur Guðnadóttir

    2020: Icelandic composer Hildur Guðnadóttir became the first woman to win an Academy Award for a film score since 1997. In her speech, she urged women and girls to “please speak up; we need to hear your voices.”

  3. Ludwig Göransson

    3. Black Panther – Ludwig Göransson

    2019: Ludwig Göransson's African-inspired score for Black Panther, which was praised for its authenticity and uniqueness among other Marvel film scores, beat Mary Poppins Returns and Isle of Dogs to the 2019 award for Best Original Score.

  4. Alexandre Desplat

    4. The Shape of Water – Alexandre Desplat

    2018: Desplat's second Oscar win in three years, 'The Shape of Water' beat soundtracks by John Williams, Jonny Greenwood, Carter Burwell and Hans Zimmer to the title of Best Original Score.

  5. La La Land

    5. La La Land – Justin Hurwitz

    2017: What a year for Justin Hurwitz. As well as picking up the Best Original Song Award for 'City of Stars', his soundtrack for La La Land earned him the 2017 Oscar for Best Original Score.

  6. Ennio Morricone

    6. The Hateful Eight – Ennio Morricone

    2016: The incredible 90-year-old composer picked up his first Academy Award for Best Original Score just three years ago with The Hateful Eight – proof it's literally never too late to bag yourself an Oscar.

  7. Grand Budapest Hotel

    7. Grand Budapest Hotel – Alexandre Desplat

    2015: The score for The Grand Budapest Hotel was Desplat's first Oscar win, despite being nominated nearly every year since 2007, when he was nominated for The Queen.

  8. Steven Price at the Oscars 2014 winner

    8. Gravity - Steven Price

    2014: Composer Steven Price accepts the Best Achievement in Music Written for Motion Pictures, Original Score award for Gravity on stage during the Oscars

  9. Life of Pi

    9. Life Of Pi - Mychael Danna

    2013: Canadian composer Mychael Danna beat a strong field to win his first ever soundtrack Oscar with his Indian-influenced score for Ang Lee's Life Of Pi. Also nominated were John Williams (surely his time will come again soon?), Thomas Newman, Alexandre Desplat and Dario Marianelli.

  10. The Artist

    10. The Artist - Ludovic Bource

    2012: In a film where sound (or lack of) was one of the most important elements, the music has to be exceptional. Fortunately, Ludovic Bource's characterful work was exactly that, and managed to beat a double John Williams nomination.

  11. The Social Network

    11. The Social Network - Trent Reznor, Atticus Ross

    2011: A largely electronic score suited the social media drama The Social Network perfectly, and the Academy acknowledged it as such in a strong year for the category, featuring Hans Zimmer's music for Inception and Alexandre Desplat's for The King's Speech.

  12. Michael Giacchino

    12. Up - Michael Giacchino

    2010: Disney returned to the Oscar soundtracks category in 2010 with Giacchino's charming score to the animated classic Up, which beat Hans Zimmer, James Horner and Alexandre Desplat to the prize.

  13. Slumdog Millionaire

    13. Slumdog Millionaire - A.R. Rahman

    2009: An Oscars first: a Bollywood-influenced score taking the gong for Best Original Music. Danny Boyle's Slumdog Millionaire was a huge awards hit.

  14. Howard Goodall's Greatest Movie Scores - 00's

    14. Atonement - Dario Marianelli

    2008: Marianelli's music for the film version of Ian McEwan's novel Atonement won plaudits from all quarters in a rare John Williams-free year.

  15. Babel - Gustavo Santaolalla

    15. Babel - Gustavo Santaolalla

    2007: Gustavo Santaolalla strikes again, making it two years in a row winning the Oscar for Best Original Music - this time for the multi-layered Brad Pitt drama Babel.

  16. films that made you weep

    16. Brokeback Mountain - Gustavo Santaolalla

    2006: Ang Lee's drama about the relationship between two cowboys was much admired in 2006, not least for its haunting soundtrack by Gustavo Santaolalla - it was his first, and saw him head off two rival nominations from John Williams.

  17. Film Still

    17. Finding Neverland - Jan A. P. Kaczmarek

    2005: An Oscar newcomer, Jan A. P. Kaczmarek's score for this Johnny Depp and Kate Winslet fantasy drama about JM Barrie was strong enough to fend off both John Williams and Thomas Newman.

  18. Lord Of Thr Rings

    18. The Lord Of The Rings: Return Of The King - Howard Shore

    2004: Well, two out of three ain't bad... Howard Shore's Oscar for Original Score was just one of 11 Oscars that Return Of The King picked up in 2004, and his second after three scores for the series.

  19. Frida salma hayek

    19. Frida - Eliot Goldenthal

    2003: Salma Hayek (pictured) starred as artist Frida Kahlo in this 2002 biopic, but it was composer Eliot Goldenthal who brought home the Oscar for his soundtrack.

  20. Lord of the Rings

    20. The Lord of the Rings: The Fellowship of the Ring - Howard Shore

    2002: The tradition of grand fantasy trilogies in cinema returned with a vengeance in 2002 with the first Lord of the Rings movie. Just as iconic as the visuals and the story was Howard Shore's soaring score, which beat a double nomination for John Williams.

  21. Crouching Tiger, Hidden Dragon - Tan Dun

    21. Crouching Tiger, Hidden Dragon - Tan Dun

    2001: Kicking off the millennium with a martial arts epic, the music from Crouching Tiger, Hidden Dragon is a great mesh of western symphonic and traditional eastern sounds.

  22. The Red Violin - John Corigliano

    22. The Red Violin - John Corigliano

    2000: Not content with winning an Oscar for the soundtrack to the Samuel L. Jackson drama The Red Violin, John Corigliano took portions of the score and turned them into his violin concerto. How's that for resourceful?

  23. Life Is Beautiful - Nicola Piovani

    23. Life Is Beautiful - Nicola Piovani

    1999: The Italian movie Life Is Beautiful was a surprise success story at the Oscars in 1999, but Nicola Piovani's score also managed to fend off competition from John Williams (again... this is getting silly now...) and Hans Zimmer.

  24. Titanic

    24. Titanic - James Horner

    1998: James Horner got his first ever Oscar with the multi-award-winning epic that was Titanic, which won a massive 11 awards. That's not to detract from Horner's achievement - he was up against John Williams, Danny Elfman, Philip Glass and Jerry Goldsmith. Meanwhile, in the Musical or Comedy category, Anne Dudley's music for The Full Monty took an Oscar back to Britain.

  25. Film Still

    25. The English Patient - Gabriel Yared

    1997: The English Patient rejuvenated interest in the British film industry, and Gabriel Yared's score managed to bag the Oscar for Dramatic Score - Rachel Portman's score for Emma won in the Musical or Comedy category.

  26. Il Postino - Luis Bacalov

    26. Il Postino - Luis Bacalov

    1996: Disney's four-year reign had to end, and Luis Bacalov's Il Postino was the soundtrack to end it with an Oscar for Dramatic Score (the Musical or Comedy Score was won by Alan Menken again, for Pocahontas - so it wasn't all bad news for Disney). Remarkably, James Horner was nominated twice in the same category for his work on Apollo 13 and Braveheart, but it wasn't enough to topple Bacalov.

  27. The Lion King

    27. The Lion King - Hans Zimmer

    1995: A first-time Oscar-winner, Hans Zimmer's score for The Lion King was the fourth Disney film to win the Best Original Score award in five years - a remarkable dominance in the category.

  28. Schindlers List

    28. Schindler's List - John Williams

    1994: John Williams bagged his fifth and most recent Oscar with his haunting violin theme to Steven Spielberg's holocaust drama Schindler's List

  29. Aladdin

    29. Aladdin - Alan Menken

    1993: Menken made it an Oscar hat-trick with Aladdin, the following year to his triumph with Beauty and the Beast. It ushered in a hey-day of Disney animations and, notably, fantastic songs and scores.

  30. Film Stills: Beauty and the Beast

    30. Beauty and the Beast - Alan Menken

    1992: Alan Menken grabbed a second Oscar with his score to Beauty and the Beast, at the time one of the films that reignited interest in Disney animations.

  31. Dances With Wolves

    31. Dances With Wolves - John Barry

    1991: Dances With Wolves was the Bond composer's third Oscar for Best Original Score, fourth overall when added to the Best Original Song Oscar he won for Born Free. John Williams was nominated again, but couldn't quite manage another - which means Barry was, for a time, even with Williams.

  32. The Little Mermaid - Alan Menken

    32. The Little Mermaid - Alan Menken

    1990: Disney are back! Not since Pinnochio back in the '40s had a Disney animation won in the Best Original Score category, so newcomer Alan Menken's first Oscar was a bit of a coup.

  33. The Milagro Beanfield War

    33. The Milagro Beanfield War - Dave Grusin

    1989: Directed by the great Robert Redford, this is perhaps one of the more forgotten Best Original Score winners - particularly when you consider who Dave Grusin was up against. He managed to beat John Williams (The Accidental Tourist), George Fenton (Dangerous Liaisons), Maurice Jarre (Gorillas In The Mist) and Hans Zimmer (Rain Man).

  34. The Last Emperor

    34. The Last Emperor - Ryuichi Sakamoto, David Byrne, Cong Su

    1988: Bernardo Bertolucci (pictured) enlisted Ryuichi Sakamoto to compose the incidental music for The Last Emperor, and also managed to get Talking Heads frontman David Byrne and Cong Su to contribute songs too. Another interesting non-traditional choice for the Academy, but when would the symphonists get another look-in?

  35. Round Midnight

    35. Round Midnight - Herbie Hancock

    1987: Round Midnight was another stylistic landmark for the Best Original Score Oscar, being an especially jazzy affair. Jazz-based scores had been nominated before (Bernard Herrmann's Taxi Driver, for instance), but this was a notable non-symphonic win for Herbie Hancock.

  36. Out Of Africa

    36. Out Of Africa - John Barry

    1986: Another John Barry triumph, and another British soundtrack Oscar (despite the movie's reliance on Mozart's Clarinet Concerto). Barry beat the previous year's winner, Maurice Jarre, whose soundtrack for Witness couldn't quite pip him to the post.

  37. maurice jarre

    37. A Passage To India - Maurice Jarre

    1985: Here's Maurice Jarre collecting the third Oscar of his career, thanks to the sumptuous score for David Lean's drama.

  38. Bill Conti

    38. The Right Stuff - Bill Conti

    1984: Bill Conti (pictured) regularly appears as the conductor at the Oscar ceremony itself, so this was a doubly special Oscar win for him.

  39. Film Still

    39. ET The Extra-Terrestrial - John Williams

    1983: Just proving that a traditional symphonic score with soaring melodies could do just as well as an electronic soundtrack, John Williams picked up another Oscar for ET.

  40. Howard Goodall's Greatest Movie Scores - 1980s

    40. Chariots Of Fire - Vangelis

    1982: Recently the subject of a Mr. Bean-related revival, Vangelis score for athletics drama Chariots Of Fire marked another significant change in the fortunes of electronic music at the Oscars.

  41. Fame - Michael Gore

    41. Fame - Michael Gore

    1981: Michael Gore's music for the global hit Fame was a sensation, and so it proved when he was given the soundtrack Oscar, beating the likes of veteran John Williams with The Empire Strikes Back and more left-field fare like Altered States by John Corigliano.

  42. A Little Romance - Georges Delerue

    42. A Little Romance - Georges Delerue

    1980: Georges Delerue picked up his first and only Oscar for Original Score with his score for this light-hearted romance.

  43. Midnight Express - Giorgio Moroder

    43. Midnight Express - Giorgio Moroder

    1979: In a year that saw the reigning champ John Williams return with another rousing score for Superman, Giorgio Moroder's electronic score to Midnight Express was a surprise winner.

  44. Star Wars

    44. Star Wars - John Williams

    1978: If anyone was in any doubt about whether John Williams had truly arrived on the movie soundtrack scene, Star Wars sealed the deal. Simply one of the most iconic soundtracks ever written, it became a blueprint for all the heroic film scores that followed.

  45. The Omen - Jerry Goldsmith

    45. The Omen - Jerry Goldsmith

    1977: Horror classic The Omen has its share of iconic scenes (pane of glass decapitation, anyone?) but it wouldn't have worked half as well if it wasn't for Jerry Goldsmith's haunting choral score.

  46. John Williams signs Jaws poster

    46. Jaws - John Williams

    1976: Finally, after several nominations, John Williams got his first Oscar for the classic Spielberg thriller Jaws. Here he is signing a Jaws poster when Classic FM interviewed him a few years ago.

  47. The Godfather Part II - Nino Rota, Carmine Coppola

    47. The Godfather Part II - Nino Rota, Carmine Coppola

    1975: Nino Rota was originally nominated for the Original Dramatic Score Oscar for the first Godfather movie in 1972, until it emerged that Rota had used portions of another earlier score. So he made double sure when the second film came around, heading off Jerry Goldsmith's score for Chinatown and John Williams' music for The Towering Inferno.

  48. Love Story - Marvin Hamlisch

    48. The Way We Were - Marvin Hamlisch

    1974: The late, great Marvin Hamlisch cemented his legendary film composing status with this fantastic score that won an Oscar against stiff competition from John Williams (by this point becoming an Oscars regular). Hamlisch also bagged the Oscar for Original Song Score and Adaptation, thanks to his work on The Sting in the same year.

  49. Limelight

    49. Limelight - Charlie Chaplin, Raymond Rasch, Larry Russell

    1973: This posthumous Oscar was awarded to this Chaplin film from 1952, but subsequently fell out of circulation because of Charlie Chaplin being refused re-entry to the US when the film was originally touring. It received screenings in Los Angeles in 1972, making it eligible for the Oscars.

  50. Summer of '42 - Michel Legrand

    50. Summer of '42 - Michel Legrand

    1972: Michel Legrand (pictured) got his first Oscar with his wistful score to this coming-of-age drama.

  51. Love Story

    51. Love Story - Francis Lai

    1971: Kicking off the '70s in schmaltzy style, Francis Lai's score to the wildly successful romantic movie Love Story. Lai beat competition from some of the Oscar usuals - Henry Mancini, Alfred Newman and Jerry Goldsmith.

Sours: https://www.classicfm.com/events/oscars/best-soundtracks/oscar-winning-soundtracks-history/

Music winners oscar

20 greatest Oscar winners for Best Original Song, ranked

The Oscar for Best Original Song is one of the most coveted awards in the music industry – arguably more so than the Grammy for Song of the Year. The accolade was first introduced in 1934 at the 7th Academy Awards, and was won by “The Continental” (Con Conrad, Herb Magidson) from Best Film nominee The Gay Divorcee.

A great song can help lift an average or good film into the annals of cinema history, and often convey the thoughts and feelings of its characters better than the dialogue itself. Looking at the winners across the years it is abundantly clear that the voting academy favours sweeping ballads above all else, but there have been exceptions, such as with Eminem's “Lose Yourself” from 8 Mile, in 2002, and the funk-driven “Theme from Shaft”.

With Leslie Odom Jr and Sam Ashworth’s “Speak Now” (One Night in Miami) and Laura Pausini and Diane Warren’s “Io sì (Seen)” (The life Ahead) looking like the most likely contenders for this year's Best Original Song, here's a look at the best tracks to win this category since the Oscars began.

Click through to see which song we deem the best of the best.

The greatest Oscar winners for Best Original Song – ranked

Show all 20

The 93rd Academy Awards take place on 25 April – follow all of The Independent's coverage here.

Sours: https://www.independent.co.uk/arts-entertainment/music/features/oscars-best-original-song-winners-b1834292.html
Lady Gaga, Bradley Cooper - Shallow (From A Star Is Born/Live From The Oscars)

The Top 20 Best Original Song Oscar Winners of All Time

With the Oscars coronating another winner for best original song, it’s an occasion to look back at 20 of the times when the golden guy got it most right with the tune he carried, from “Lullaby of Broadway” to “Lose Yourself.”

1: “White Christmas”
from “Holiday Inn” (1942), by Irving Berlin

It always feels strange watching the “Holiday Inn” scene where Bing Crosby, playing a songwriter, teaches this song to Marjorie Reynolds as something that had recently come off the top of his head, because implicit in the scene is the idea that “White Christmas” was written by a human, not God. The same could be said of its status of an Oscar winner, which never fails to surprise younger generations: Isn’t it from a hymnal of some sort? If it’s true that Berlin said at the time that it wasn’t just the best song he ever wrote but “the best song anybody ever wrote,” he wasn’t far off. Ostensibly about being in Beverly Hills waxing wistful for a great white north, it really could be about any longing that still has the potential to be fulfilled again. Or maybe it really is just about the beauty of precipitation after all. Because sometimes a snowman holding a cigar is just a snowman holding a cigar.

2. “Over the Rainbow”
from “The Wizard of Oz” (1939),by Harold Arlen and Yip Harburg

When you think about it, both of these two top-tier Oscar songs are ditties about the weather. But only one of them helped inspire a flag. (Which is fine; no one really needs a white flag in the world.) As “I wish” songs go, it’s a little more fatalistic than “White Christmas”; Dorothy’s chances of escape and having her wildest dreams come true sound a little more distant than Crosby being able to just hop on a plane to Minnesota if he really felt that strongly. Part of what’s great about the song — and what allegedly scared some studio execs that were ready to toss it — is how completely dead it stops the movie before it’s even gotten started, so that Judy Garland can sing her quest song before there’s any literal quest to speak of. Watching the rough cut, it might have seemed like an avoidable stall. But in essence, “Over the Rainbow” is the movie, tornados and tin men notwithstanding. And it’s life… or our thwarted, still faintly possible vision for it.

3. “When You Wish Upon a Star”
from “Pinocchio” (1940),by Leigh Harline and Ned Washington

The great triumvirate of movie “wish” songs is completed by Jiminy Cricket’s opening and closing anthem about wishing to be real… something we could all aspire to. It’s difficult to hear this song afresh, especially after its instrumental got adopted as a theme park siren song and the logo music for every Disney film since the 1980s. That ubiquity has made most of us inured to its charm. The song is a complete lie, of course; it’s the secular version of the prosperity gospel, where success is assured if we just pray hard enough. Yet the song’s democratization of wish fulfillment still has the power to feel touching; “makes no difference who you are… no request is too extreme…” It’s the burgeoning Disney corporation as Christ stand-in, telling Depression-weaned kids that every life matters. And isn’t the simple three-word phrase “fate is kind” one of the most audacious song lyrics ever? For every real girl and real boy in need of some blind hope as well as a conscience, this song remains a real joy.

4. “Theme From ‘Shaft’”
from “Shaft” (1971), by Isaac Hayes

And now, a different kind of wish fulfillment: that you could be a “private dick that’s a sex machine to all the chicks.” It’s impossible not to hear this song’s wah-wah guitar and 16th-note hi-hat beat and not instantly acquire some swagger. Although we haven’t tested this theory out and hope not to for a while, you could probably hear this on your deathbed and still pick up a little bit of swagger as the consciousness is ebbing out of your body. It almost feels wrong to think of this as a song, as opposed to a tremendous piece of score that happens to have some words attached; Hayes’ lyrics practically serve as percussive afterthoughts to music that has already let us know that everything is not just all right but damn right. It’s the power of Hayes’ expert orchestral funk that an opening montage set in New York City at one of its lowest points makes that seem like a fairyland we wish we could revisit as much as any Oz.

5. “All the Way”
from “The Joker Is Wild” (1957), by Jimmy Van Heusen and Sammy Cahn

This is one of those Great American Songbook standards that almost no one realizes or remembers is from a movie. That’s partly because, as Frank Sinatra introduces it in a late ‘50s gangster drama, the framing isn’t designed to spotlight the honest emotion of the song he’s performing on stage as much as the glances being exchanged between shady figures in the audience. Nonetheless, it utterly transcends the context within which it was introduced into the world. It’s a brilliant ballad about being uncompromising in romance — about how being only half-loved isn’t good enough. The song is presented as a vow of all-consuming ardor from a strong suitor, but it really feels like it was penned as a reminder or anthem of aspiration for anyone who’s gotten too used to settling for less.

6. “The Windmills of Your Mind”
from “The Thomas Crown Affair” (1968), by Michel Legrand and Alan and Marilyn Bergman

In the simplest sense, it’s a song about ADHD. In the late ‘60s, a number about having too much going on in one’s head could also be described as “trippy,” a word not always associated with the usually grounded canon of Alan and Marilyn Bergman. Married to the long wind-up of a melody from Legrand, anyway, these thoughts added up to a wistful-sounding magnificence. What did any of it have to do with jewel heists? Or Steve McQueen doing aerial donuts in the movie’s glider interlude? Not entirely sure of that. What we can be certain of is that this is one of those songs, like “All the Way,” that improved and took on new life outside of their original cinematic context. Noel Harrison’s rushed delivery on the soundtrack was no match for the resonance the song took on when Dusty Springfield took it over and slowed it down to a more haunting pace. But in any rendition, it’s clear what a one-of-a-kind “Windmills of Your Mind” is – a song that takes its good time in circling back in on itself, as it describes a dreamy, stream-of-consciousness state in a coherent enough way that sent even the squarest Academy members of 1968 reaching for the ballot box.

7. “Lullaby of Broadway”
from “Gold Diggers of 1935” (1935), by Harry Warren and Al Dubin

Like “Windmills of Your Mind,” “Lullaby of Broadway” describes a state of not being able to go to sleep — not from an overactive brain, but because there’s too much partying to be done. Other songs have been written alluding to New York as the city that never sleeps. None of them have bested this ‘30s banger about staying up to see the dawn and sleeping till it’s time to take up nightlife all over again.

8. “Things Have Changed”
from “Wonder Boys” (2000), by Bob Dylan

“I used to care, but things have changed” — at last, a song for the old at heart. Here’s the counterpoint to all those “I wish” songs the movies specialize in: Dylan has gone over the rainbow to the other side and found a puddle. But at least he’s going to be bemused about it, in his own grizzled way. (We might have thought of this at late-period Dylan at the time, but now that more than two decades have gone by, we realized that he was sounding this world-weary at a spry not-yet-60.) Whether it exactly suits the movie’s Michael Douglas character or not, sometimes what we all need is a good, old-fashioned de-enlightenment anthem.

9. “Let It Go”
from “Frozen” (2013),by Kristin Anderson-Lopez and Robert Lopez

Elsa, too, used to care — about what anybody else thought — and, yes, things have changed. For a song that ostensibly has 9-year-olds at the top of its target-demo list, “Let It Go” has a lot of unpacking to do. What’s to be left behind, as the Disney musical’s ice princess leaves her palace behind to head out into the wilderness? The weight of unhealthy expectations, maybe, but also the possibility of immediate human connection, at this midpoint in the movie’s action. It’s a more emotionally complex mindset than even admirers of the song typically give it credit for, but then, it’s easy just to be swept up in the bravado of Idina Menzel’s vocal, without really thinking about all that’s lost and gained in not being bothered by the cold.

10. “Last Dance”
from “Thank God It’s Friday” (1978), by Paul Jabara

Sometimes happy endings come at 2 a.m., give or take a couple hours, depending on your local ordinances and liquor licenses. “Thank God It’s Friday” was not a movie that had “Oscar bait” written all over it, but it had to exist as a vehicle for one of Donna Summer’s triumphs — a disco classic that reassures us that sometimes an evening really does save the best for last.

11. “Baby, It’s Cold Outside”
from “Neptune’s Daughter” (1949), by Frank Loesser

In the annals of pop duets, there are few or none cleverer. Just as a piece of songcraft, it’s bold in how it trusts the listener not to lose track of the gender-segregated rhyme schemes even as these two very willing lovers interrupt and dance around one another. As it moved on from its long-forgotten filmic context to become a December standard, the song became a flashpoint for debate over whether it celebrates coercion or a woman abandoning flimsy excuses on the way to owning her own desire. It’s really as sex-positive as 1940s songs got, especially for the female duet partner, who clearly has no intention of skipping out on one cigarette more.

12. “Evergreen”
from “A Star Is Born” (1976), by Barbra Streisand and Paul Williams

Are you an “Evergreen” man or a “Way We Were” woman? You can take your pick of which all-timer original Streisand movie anthem is your particular brand of butter. But a side-by-side taste test reveals that she topped herself, in this song that she wrote the melody for herself, albeit clearly with some help… by which we mean help from the divine. It’s a boldly constructed ballad that dispenses with easy verse/chorus format — but then, would it make sense for a song called “Evergreen” to go through a whole round of songwriting seasons? In the film, as she sings it to Kris Kristofferson, Streisand makes a funny face as she heads into the last few bars, like it’s challenging her. But nobody’s really laughing as she proceeds into one of pop’s most spine-tingling decrescendos.

13. “Lose Yourself”
from “8 Mile” (2002), by Eminem, Jeff Bass and Luis Resto

“Lose Yourself,” the first hip-hop song to win an Oscar (and still in rarefied company in that regard), stands as one of Eminem’s more pop-friendly efforts, but a big part of what makes the song work is the exquisite tension of how long he keeps the seemingly extemporaneous verses going before it loses itself in a chorus. The almost “Kashmir”-like guitar line ramps up the tension, as Eminem keeps going and going, almost erring on the side of recounting the film in progress… but you don’t really want the recap to end or the drama to stop escalating. As full of hubris as Eminem’s raps might usually be, this one founds power in a kind of humility and universality, fully articulating the pre-performance fear that choking might be a possibility — and the ironic concept that a loss of self-consciousness is the hurdle to get over in fully expressing yourself.

14. “Thanks for the Memory”
from “The Big Broadcast of 1938” (1938), by Ralph Rainger and Leo Robin

This song became infinitely better known as Bob Hope’s endlessly adaptable solo signature song, as opposed to the much more interesting movie duet it began life as. In the film, Hope and Shirley Ross are a divorced couple who have a re-meet-cute and share mostly sweet recollections over a drink. (A censor forced a slight change in a lyric recalling their honeymoon: “That weekend at Niagara when we hardly saw the Falls” became “barely saw the falls,” lest anyone be put in mind of non-stop newlywed sex.) The idea is that there are no hard feelings between these two, given their shared bank of sweet memories — they’re practically the original conscious uncouplers. The song has a sad ending, though, facing the reality that no divorce song can really be that whimsical… even if the ending the film itself is headed for is inevitably a happier one. The whole modern thing about “…it’s complicated”? The ‘30s had that down.

15. “Mona Lisa”
from “Captain Carey, U.S.A.” (1950), by Ray Evans and Jay Livingston

This song about (or at least inspired by) a painting is assuredly not like watching paint dry. Nat “King” Cole had the No. 1 hit with it not long after the movie’s release, but did not appear in the movie, a 1950 crime film set in Italy. “Captain Carey, U.S.A.” is a sort of film noir, but it would have taken an even more classic example of the form to be as worthy a vehicle as “Mona Lisa” really merited, as the song moved on and became a part of American popular culture in a way that movie didn’t. It’s easy to imagine the protagonist of a classic noir wondering what’s behind the beauty of a femme fatale as a singer warns:Many dreams have been brought to your doorstep / They just lie there and they die there.” In any case, this ode to impenetrability is not the straight-up song of adoration its warm tone would suggest.

16. “It Goes Like It Goes”
from “Norma Rae” (1979), by David Shire and Norman Gimbel

In the modern era, a song about union formation would never be allowed to go out on a song as ambivalent as “It Goes Like It Goes,” a ballad that wavers between resignation and bare-bones hope and makes it sound like either would be just as beautiful. Before she was lifting us up where we belong, Jennifer Warnes was just the warbler to leave us with slightly less elevated lines like, “Maybe what’s good gets a little bit better, and maybe what’s bad gets gone.” You could almost think of this as one of the best Randy Newman movie songs that Randy Newman never wrote, at least when it’s opening with a lyric like “Ain’t no miracle bein’ born, people doin’ it everyday” and benefitting from his kind of bittersweet orchestration. That songsmith pros like Shire and Gimbel were able to pull off this idiosyncratic of a tune is a reminder of just what a different time the ‘70s were.

17. “The Way You Look Tonight”
from “Swing Time” (1936), by Jerome Kern and Dorothy Fields

“Swing Time” was sexy-time when Fred Astaire serenaded a getting-ready-to-go-out Ginger Rogers from another room (and was eventually joined by her). The movie hardly counts as forgotten, but the song is even more a part of modern popular culture, never far from the lips of any cabaret singer, or the heart of any true romantic with some institutional knowledge of the American songbook.

18. “Falling Slowly”
from “Once” (2007), by Glen Hansard and Marketa Irglova

Sometimes a great song is incidental to the film from which it sprang; in very rare instances, the movie would not exist, or certainly have endured, without a key number. That’s certainly the case with “Once” — not just in its movie form, but its subsequent Broadway incarnation — which seems to exist first and foremost as a vehicle for a song beautiful enough to have at least momentarily made the duo the Swell Season a household name. The real-life couple, who played busker strangers circling one another on the streets of Ireland, eventually slowly fell out. Their harmonies endured, colliding on a melody that seemed to celebrate their romance and portend its end all at once.

19. “I’m Easy”
from “Nashville” (1975), by Keith Carradine

Ironies abounded in this centerpiece number from Robert Altman’s “Nashville”: Carradine sings it in a club performance scene as a caddish singer/songwriter who seems to have written the acoustic ballad from the susceptible viewpoint of one of his victims… many of whom, real or prospective, are seated adoringly in his audience. It’s either a deeply vulnerable or deeply cynical anthem of open-heartedness. “Nashville” gets to play it both ways, really, but it’s a surprise the song hasn’t been covered more often for all the earnestness it might be worth.

20. “Streets of Philadelphia”
from “Philadelphia” (1993), by Bruce Springsteen

It’s not entirely clear whether Springsteen was trying to draw an exact analog between his lyrics and Tom Hanks’ AIDS-stricken character in the film, but the idea of “wasting away” fits whether you want to think of literal disease or just malaise as a state as sure as Pennsylvania. Springsteen cut multiple versions of the song, then went with the most minimalist one as the recording that became his last top 10 hit to date. At a 28-year-old time when general audiences were less likely to go see a film about a dying gay man than they would be in the 21st century, there was no doubt that Springsteen using his then-superpowers as a point of empathy was a factor in helping turn the film into a mainstream hit. It’s a renewable elegy for a tragic moment in American life that still bears hearing.

 

With these songs having been celebrated, you might reasonably ask: Hey, where are “Moon River,” “Can You Feel the Love Tonight,” “Flashdance… What a Feeling,”  “The Way We Were,” “The Shadow of Your Smile,” “The Morning After,” “You’ll Never Know,” “Que, Sera Sera,” “Beauty and the Beast,” “A Whole New World,” “Under the Sea,” “Call Me Irresponsible,” “For All We Know,” “Chim-Chim Cheree,” “Zip-a-Dee Doo-Dah,” “Fame,” “Never on Sunday” and “Raindrops Keep Fallin’ on My Head” on this list? The answer: You are right — these are all also great songs, and possibly egregious oversights, and will surely be included in later revisions.

Meanwhile, you might also be wondering: How in the world could you overlook “Goldfinger,” “Have Yourself a Merry Little Christmas,” “Mrs. Robinson,” “Stayin’ Alive,” “New York, New York,” “Pure Imagination,” “Purple Rain,” “Can’t Help Falling in Love,” “Knockin’ on Heaven’s Door,” “A Hard Day’s Night,” “Help!,” “The Rose,” “To Sir With Love,” “Fight the Power,” “Happy,” “Once Upon a Dream,” “Diamonds Are Forever,” “Cruella de Vil,” “You Only Live Twice,” “Whistle While You Work,” “Always Look on the Bright Side of Life,” “Spoonful of Sugar,” “Feed the Birds,” “Call Me,” “Part of Your World,” “Someday My Prince Will Come” and “Big Bottom”? In this case, the overlooking can’t be counted as ours: None of these songs were even nominated for best original song, much less came up a winner.

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Sours: https://variety.com/2021/music/opinion/best-original-song-oscar-winners-greatest-1234959983/

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