1956 Best Original Song - Doris Day ne déçoit jamais

in

WON AND SHOULD'VE WON: "Whatever Will Be, Will Be (Que Sera, Sera)," The Man Who Knew Too Much

Ah, Academy of Motion Picture Arts and Sciences, circa 1956. This could've been such a swell year at the Oscars, had you just given Giant the full sweep. Alas, Around the World in Eighty Days? Yul Brynner and Anthony Quinn hamming it up? At least Ingrid Bergman and especially Dorothy Malone were aces, and George Stevens prevailed to boot.

With that said, Best Original Song is a category the Academy got right in 1956.

The Man Who Knew Too Much's "Whatever Will Be, Will Be (Que Sera, Sera)," performed memorably by Doris Day, is really one of the all-time great winners in this category, probably a contender for my top 10 when all is said and done. Sure, it's a rather short track but Day's exquisite vocal sells it from the get-go and it's catchy as can be. That it's featured in a terrific picture certainly doesn't hurt either. Less, unfortunately, can be said for "Julie," also performed by Day this year - her vocal is very nice on that one too but it's not a terribly memorable song and I find the background vocals more eerie than anything. Also, not that is matters much, but Julie is no The Man Who Knew Too Much.

The other three nominees fall somewhere in the middle of the two Day nominees, though closer to "Julie" in quality.

I adore Douglas Sirk's Written on the Wind for its stunning art direction, costumes, cinematography, juicy performances and brilliant directing but, approaching this category, I couldn't even recall the Four Aces' title track to the picture. Revisiting it, I still don't find it very noteworthy, though it's enjoyably corny in the same fashion of "Love Is a Many-Splendored Thing" (which, of course, I still ranked dead last in its line-up).

I also really like Friendly Persuasion but the sappy-as-molasses Pat Boone title song? Meh. Cole Porter's "True Love" from High Society, performed by Bing Crosby with a modest assist from Grace Kelly, is a little more agreeable, if mostly devoid of energy or enthusiasm. Really, nothing comes remotely close to the winning song this year.

The Oscar-winners ranked (thus far)...

  1. "Over the Rainbow," The Wizard of Oz (1939)
  2. "The Way You Look Tonight," Swing Time (1936)
  3. "Whatever Will Be, Will Be (Que Sera, Sera)," The Man Who Knew Too Much (1956)
  4. "Mona Lisa," Captain Carey, U.S.A. (1950)
  5. "You'll Never Know," Hello, Frisco, Hello (1943)
  6. "On the Atchison, Topeka and the Santa Fe," The Harvey Girls (1946)
  7. "Baby, It's Cold Outside," Neptune's Daughter (1949)
  8. "High Noon (Do Not Forsake Me, On My Darlin')," High Noon (1952)
  9. "Secret Love," Calamity Jane (1953)
  10. "White Christmas," Holiday Inn (1942)
  11. "When You Wish Upon a Star," Pinocchio (1940)
  12. "Thanks for the Memory," The Big Broadcast of 1938 (1938)
  13. "Lullaby of Broadway," Gold Diggers of 1935 (1935)
  14. "Zip-a-Dee-Doo-Dah," Song of the South (1947)
  15. "It Might As Well Be Spring," State Fair (1945)
  16. "The Last Time I Saw Paris," Lady Be Good (1941)
  17. "In the Cool, Cool, Cool of the Evening," Here Comes the Groom (1951)
  18. "Love Is a Many-Splendored Thing," Love Is a Many-Splendored Thing (1955)
  19. "Three Coins in the Fountain," Three Coins in the Fountain (1954)
  20. "Swinging on a Star," Going My Way (1944)
  21. "Sweet Leilani," Waikiki Wedding (1937)
  22. "The Continental," The Gay Divorcee (1934)
  23. "Buttons and Bows," The Paleface (1948)

1955 Best Original Song - Long Before Patrick and Demi...

in

WON: "Love Is a Many-Splendored Thing," Love Is a Many-Splendored Thing

SHOULD'VE WON: "Something's Gotta Give," Daddy Long Legs

Most folks don't realize it (even I, a huge fan of the song, didn't discover this until rather recently) but "Unchained Melody," that timeless Righteous Brothers classic that's been put to memorable use for decades across film (like in Ghost) and television (like on The Wonder Years), actually originated as an Oscar-nominated song in 1955. It's briefly featured in the most unlikely of films, a Warner Bros. prison melodrama aptly titled Unchained, where it's performed quite soulfully, albeit fleetingly by Al Hibbler.

"Unchained Melody" is a prime case of how critical the production of a record can be to its success - as produced by Phil Spector in 1965 for the Righteous Brothers, with his incomparable Wall of Sound method of instrumental layering, it's a sweeping, enchanting piece of music, one that filled wedding ballrooms and school gymnasiums on prom night for decades to come. Bobby Hatfield's gorgeous vocal on the track doesn't hurt, either.

As showcased in Unchained, however, it just doesn't pack the same punch. Hibbler's vocal is nice, but not quite as powerful as Hatfield's, and the production is sparse, if almost non-existent, so we pay more attention to Hy Zaret's lyrics, only to discover it really is that Spector production that's made "Unchained Melody" such an irresistible classic. With that said, in this particular Spector-free, Hibbler-performed form, I just can't support it for the win, even if I consider the Spector version among my all-time favorites.

Now, as for the rest of this category...it's actually among the more all-around solid line-ups I've encountered thus far. There really isn't a rotten or even just somewhat underwhelming apple in the bunch.

Frank Sinatra's "(Love Is) The Tender Trap," from The Tender Trap, opposite Debbie Reynolds, is a real charmer and underrated tune from his catalogue. I also like Doris Day's "I'll Never Stop Loving You" from Love Me or Leave Me, even though I'm not too keen on the film itself, which marked something of a minor comeback for Day's leading man, James Cagney. The winning song, "Love Is a Many-Splendored Thing," is actually probably the weakest nominee of the five, but it still has some nice instrumentals and kind of works if you're in the mood for agreeable '50s romantic cheese (it was also put to nice use in the opening scene of Grease). Too bad the film it's in is completely tainted by the woefully miscast Jennifer Jones.

It's a tough call but my favorite of the five is ultimately "Something's Gotta Give," from one of Fred Astaire's later efforts, Daddy Long Legs, which paired the 55-year-old Astaire opposite a 24-year-old Leslie Caron. The tune itself is a lot of fun, plenty listenable without a visual, but it's made all the more fantastic by the wonderful choreography of the sequence it's featured in. Astaire looks light on his feet as ever.

The Oscar-winners ranked (thus far)...

  1. "Over the Rainbow," The Wizard of Oz (1939)
  2. "The Way You Look Tonight," Swing Time (1936)
  3. "Mona Lisa," Captain Carey, U.S.A. (1950)
  4. "You'll Never Know," Hello, Frisco, Hello (1943)
  5. "On the Atchison, Topeka and the Santa Fe," The Harvey Girls (1946)
  6. "Baby, It's Cold Outside," Neptune's Daughter (1949)
  7. "High Noon (Do Not Forsake Me, On My Darlin')," High Noon (1952)
  8. "Secret Love," Calamity Jane (1953)
  9. "White Christmas," Holiday Inn (1942)
  10. "When You Wish Upon a Star," Pinocchio (1940)
  11. "Thanks for the Memory," The Big Broadcast of 1938 (1938)
  12. "Lullaby of Broadway," Gold Diggers of 1935 (1935)
  13. "Zip-a-Dee-Doo-Dah," Song of the South (1947)
  14. "It Might As Well Be Spring," State Fair (1945)
  15. "The Last Time I Saw Paris," Lady Be Good (1941)
  16. "In the Cool, Cool, Cool of the Evening," Here Comes the Groom (1951)
  17. "Love Is a Many-Splendored Thing," Love Is a Many-Splendored Thing (1955)
  18. "Three Coins in the Fountain," Three Coins in the Fountain (1954)
  19. "Swinging on a Star," Going My Way (1944)
  20. "Sweet Leilani," Waikiki Wedding (1937)
  21. "The Continental," The Gay Divorcee (1934)
  22. "Buttons and Bows," The Paleface (1948)

1954 Best Original Song - The Biggest Robbery Since Brink's

in

WON: "Three Coins in the Fountain," Three Coins in the Fountain

SHOULD'VE WON: "The Man That Got Away," A Star Is Born

In hindsight, the 1954 Oscars could have gone a lot worse - Seven Brides for Seven Brothers, for instance, could have defeated On the Waterfront in Best Picture. Bing Crosby's hammy turn in A Country Girl could've easily kept Marlon Brando from his first Academy Award to boot. With that said, '54 is still kind of a disheartening year - not only was Alfred Hitchcock's brilliant Rear Window not much embraced, but Grace Kelly's dull-as-dishwater turn opposite Crosby managed to defeat the incredible likes of Dorothy Dandridge (fresh and exciting in Carmen Jones), Jane Wyman (stunningly good in Magnificent Obsession) and yes, Judy Garland (a truly show-shopping comeback in A Star Is Born) for Best Actress. Groucho Marx famously lamented that Garland's loss as "the biggest robbery since Brink's."

In fact, the engrossing A Star Is Born failed to score a single victory on any of its six richly deserved nominations on Oscar night, including Best Original Song, where it was nominated for the unforgettable "The Man That Got Away." For my money, this tune is one of those true leading lady musical tour-de-forces, up there with the likes of "Rose's Turn" in Gypsy, "The Ladies Who Lunch" in Company and "If He Walked into My Life" in Mame - it sticks with you long after seeing the whole production. Garland's performance is riveting and the music and lyrics by the comparable Harold Arlen and Ira Gershwin are truly phenomenal.

With that said, there's a pretty substantial gap in quality between the Garland tune and the rest.

"Three Coins in the Fountain," gracefully performed here by Frank Sinatra, with music by Jule Styne (one of my all-time favorites), is, much like the film it's featured in, plenty pleasant and agreeable. In another year, I wouldn't much protest its winning but against a juggernaut like "The Man That Got Away," it's just entirely out of its league. Same with "Count Your Blessings (Instead of Sheep)," a nice, nuanced Bing Crosby tune that's a fine listen around the holidays but doesn't exactly pop off the screen in White Christmas. Frankly, "Sisters" from the same picture probably would've been a more deserving nominee.

"Hold My Hand" isn't anything to write home about at all - it's featured in Susan Slept Here, an obscure Debbie Reynolds picture, yet isn't even performed by the great Reynolds and instead plays forgettably in the background, performed by Don Cornell. As for The High and the Mighty, that picture's Oscar-winning score, composed by Dimitri Tiomkin, is unimpeachably fantastic. It was so terrific, it managed to drag the film's not-so-amazing original song, performed by Johnny Desmond, to a nomination.

The Oscar-winners ranked (thus far)...

  1. "Over the Rainbow," The Wizard of Oz (1939)
  2. "The Way You Look Tonight," Swing Time (1936)
  3. "Mona Lisa," Captain Carey, U.S.A. (1950)
  4. "You'll Never Know," Hello, Frisco, Hello (1943)
  5. "On the Atchison, Topeka and the Santa Fe," The Harvey Girls (1946)
  6. "Baby, It's Cold Outside," Neptune's Daughter (1949)
  7. "High Noon (Do Not Forsake Me, On My Darlin')," High Noon (1952)
  8. "Secret Love," Calamity Jane (1953)
  9. "White Christmas," Holiday Inn (1942)
  10. "When You Wish Upon a Star," Pinocchio (1940)
  11. "Thanks for the Memory," The Big Broadcast of 1938 (1938)
  12. "Lullaby of Broadway," Gold Diggers of 1935 (1935)
  13. "Zip-a-Dee-Doo-Dah," Song of the South (1947)
  14. "It Might As Well Be Spring," State Fair (1945)
  15. "The Last Time I Saw Paris," Lady Be Good (1941)
  16. "In the Cool, Cool, Cool of the Evening," Here Comes the Groom (1951)
  17. "Three Coins in the Fountain," Three Coins in the Fountain (1954)
  18. "Swinging on a Star," Going My Way (1944)
  19. "Sweet Leilani," Waikiki Wedding (1937)
  20. "The Continental," The Gay Divorcee (1934)
  21. "Buttons and Bows," The Paleface (1948)

1953 Best Original Song - Jerry Lewis Ruins Everything

in

WON: "Secret Love," Calamity Jane

SHOULD'VE WON: "My Flaming Heart," Small Town Girl

When I saw Dean Martin's "That's Amore" was among the Best Original Song Oscar nominees in 1953, I was enormously excited and convinced I'd for sure peg it as my favorite of the line-up. I've long been a fan of the tune, mostly on account of my adoration for Norman Jewison's Moonstruck and its prominence in that picture.

Little did I know, however, that this favorite of mine actually began as a duet between Martin and longtime comedy partner Jerry Lewis...and a truly aggravating duet at that. For while Martin's performance of the tune in The Caddy is just fine, the hideously unfunny Lewis, in hyperactive cartoon form, pretty much kills the song. For what it's worth, I've been a fan of Lewis' on occasion in the past - he is, for instance, flat-out brilliant in Martin Scorsese's The King of Comedy and his filmmaking in The Ladies Man, while imperfect, is quite neat and original - but his slapstick comedy is, to put it mildly, a very acquired taste and it's just not something I can embrace. I find him downright cringe-inducing on this song.

So, with that said, this category is actually a really close call for me between the winning tune, "Secret Love," and "My Flaming Heart," from the so-so Jane Powell MGM musical Small Town Girl. I can't fault anything about either of these songs - Doris Day sounds just glorious in the former and Nat King Cole is smooth and soulful as ever performing the latter. Having listened to this line-up several times in recent days, I would say "My Flaming Heart" holds up a tad better on repeat listens but it's an awfully close call. I can't much fault the Academy's choice.

(On a related note, Day in early 1954 actually refused to perform "Secret Love" live at the Oscars, with Ann Blyth from Mildred Pierce filling in. Louella Parsons' Hollywood Women's Press Club responded by bestowing upon Day their infamous Sour Apple Award for uncooperative celebrities. The "award" left Day distraught and she didn't leave her home for weeks after.)

The remaining two nominees I can't get terribly excited about - "The Moon Is Blue," the title track from the underappreciated William Holden-Maggie McNamara comedy, runs a minute in length and comes and goes without leaving any real impression. And "Sadie Thompson's Song (Blue Pacific Blues)" has Rita Hayworth (dubbed by Jo Ann Greer) singin' the blues and it's just as dull and unremarkable a song as the picture it's featured in.

The Oscar-winners ranked (thus far)...

  1. "Over the Rainbow," The Wizard of Oz (1939)
  2. "The Way You Look Tonight," Swing Time (1936)
  3. "Mona Lisa," Captain Carey, U.S.A. (1950)
  4. "You'll Never Know," Hello, Frisco, Hello (1943)
  5. "On the Atchison, Topeka and the Santa Fe," The Harvey Girls (1946)
  6. "Baby, It's Cold Outside," Neptune's Daughter (1949)
  7. "High Noon (Do Not Forsake Me, On My Darlin')," High Noon (1952)
  8. "Secret Love," Calamity Jane (1953)
  9. "White Christmas," Holiday Inn (1942)
  10. "When You Wish Upon a Star," Pinocchio (1940)
  11. "Thanks for the Memory," The Big Broadcast of 1938 (1938)
  12. "Lullaby of Broadway," Gold Diggers of 1935 (1935)
  13. "Zip-a-Dee-Doo-Dah," Song of the South (1947)
  14. "It Might As Well Be Spring," State Fair (1945)
  15. "The Last Time I Saw Paris," Lady Be Good (1941)
  16. "In the Cool, Cool, Cool of the Evening," Here Comes the Groom (1951)
  17. "Swinging on a Star," Going My Way (1944)
  18. "Sweet Leilani," Waikiki Wedding (1937)
  19. "The Continental," The Gay Divorcee (1934)
  20. "Buttons and Bows," The Paleface (1948)

1952 Best Original Song - The Snubbin' of Singin' in the Rain

in

WON AND SHOULD'VE WON: "High Noon (Do Not Forsake Me, On My Darlin')," High Noon

Here's a question that needs to be asked - what on earth was the Academy smoking in 1952? This was the year the dreadful The Greatest Show on Earth defeated the legendary likes of High Noon (the winner in this category...which I'll get to in just a bit) and The Quiet Man. It was also the year overbaked garbage like Ivanhoe and John Huston's tedious Moulin Rogue racked up loads of nominations. Anthony Quinn and Gloria Grahame? Not exactly among the all-time finest Supporting Actor and Actress winners.

But for my money, the clearest, most egregious display of nonsense by the Academy in '52 is their near-ignoring of the superb Singin' in the Rain, only bestowing upon this classic two nominations - one for Jean Hagen's hilarious supporting turn, and the other for Lennie Hayton's scoring (which was somehow defeated by With a Song in My Heart, the campy-as-hell Susan Hayward vehicle).

Now, to be fair, when it comes to Singin' in the Rain and Best Original Song in '52, only two of the film's tunes were original and hence eligible for consideration here - the delightful "Make 'Em Laugh," performed by Donald O'Connor, and the O'Connor-Gene Kelly number "Moses Supposes," which, while probably among the weaker tunes from the film, still would've been plenty worthy of a nomination. I would argue "Make 'Em Laugh" should've been in contention for the win.

The good news is, while Singin' in the Rain certainly deserved a presence in this category (and many more), the Academy's line-up for Best Original Song in '52 isn't half-bad.

I'm admittedly not the biggest fan of westerns or the music typically in them, but Tex Ritter's title track from High Noon is pretty darn pitch-perfect; a moody, well-written number, superbly fitting for the film it's in. Playing over the opening credits, it sets the scene so beautifully for the Gary Cooper picture. I'm also quite taken with the Bob Hope-Jane Russell duet "Am I in Love," from Son of Paleface, the sequel to The Paleface, which prevailed in this category in 1948 but ultimately left me rather bored. This one, however, is a real charmer.

I would argue "Zing a Little Zong" is more or less on-par with "In the Cool, Cool, Cool of the Evening," the Bing Crosby-Jane Wyman number that triumphed in 1951 - it's enjoyable-enough but not terribly memorable. "Because You're Mine" is also admirably performed, by the great tenor Mario Lanza, but the song itself doesn't stand out in any real way. Finally, "Thumbelina" is fun and bouncy, performed with a lot of pep by Danny Kaye, though like a lot of these minute-and-a-half nominated numbers from this time, it comes off like a TV jingle (though not a bad one, in this case) and is awfully fleeting.

The Oscar-winners ranked (thus far)...

  1. "Over the Rainbow," The Wizard of Oz (1939)
  2. "The Way You Look Tonight," Swing Time (1936)
  3. "Mona Lisa," Captain Carey, U.S.A. (1950)
  4. "You'll Never Know," Hello, Frisco, Hello (1943)
  5. "On the Atchison, Topeka and the Santa Fe," The Harvey Girls (1946)
  6. "Baby, It's Cold Outside," Neptune's Daughter (1949)
  7. "High Noon (Do Not Forsake Me, On My Darlin')," High Noon (1952)
  8. "White Christmas," Holiday Inn (1942)
  9. "When You Wish Upon a Star," Pinocchio (1940)
  10. "Thanks for the Memory," The Big Broadcast of 1938 (1938)
  11. "Lullaby of Broadway," Gold Diggers of 1935 (1935)
  12. "Zip-a-Dee-Doo-Dah," Song of the South (1947)
  13. "It Might As Well Be Spring," State Fair (1945)
  14. "The Last Time I Saw Paris," Lady Be Good (1941)
  15. "In the Cool, Cool, Cool of the Evening," Here Comes the Groom (1951)
  16. "Swinging on a Star," Going My Way (1944)
  17. "Sweet Leilani," Waikiki Wedding (1937)
  18. "The Continental," The Gay Divorcee (1934)
  19. "Buttons and Bows," The Paleface (1948)