1970 Best Original Song - Julie Andrews Stops the Show

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WON: "For All We Know," Lovers and Other Strangers

SHOULD'VE WON: "Whistling Away the Dark," Darling Lili

1970, the year the Academy embraced monumental pictures including Patton and MASH, yet also nausea-inducing dreck like Airport and Love Story, marked a comparably mixed bag in the category of Best Original Song, sporting a truly grand Julie Andrews tune and respectable winner in "For All We Know," but also a couple of real snoozes.

"For All We Know," which later proved a big, fat Billboard hit for The Carpenters, was originally performed by Larry Meredith in the dated, though occasionally well-acted comedy Lovers and Other Strangers. A collaboration between composer Fred Karlin and Robb Royer and Jimmy Griffin, the latter two members of the soft rock band Bread, it is, much like most of The Carpenters' output, a pleasant, warm song, albeit a bit fleeting at under two minutes in length. Given the weakness of the year, I can't knock its victory too much, though it doesn't stand out in any real significant way.

My favorite of the line-up is Henry Mancini's "Whistling Away the Dark," from the notorious Blake Edwards musical flop Darling Lili, the picture which served as an inspiration to Edwards' hilarious and underrated S.O.B. The film may have proven a catastrophe at the box office but it does feature a remarkable performance from its leading lady and Andrews just about blows the roof off the joint in this number. She commands the screen here in a way that recalls Barbra Streisand's solo numbers in Funny Girl.

From there, the category gets a whole lot less remarkable, although "'Til Love Touches Your Life," from the obscure Leslie Caron picture Madron, does feature some pretty nifty instrumental work - it is, however, also a bit overlong and not very notable lyrically or vocally.

"Pieces of Dreams," another Legrand-Bergman-Bergman collaboration, is powerfully performed by Shirley Bassey for the dreadful Lauren Hutton drama of the same name, but certainly not among the composers' finest hours. The final nominee, Leslie Bricusse's "Thank You Very Much," from the Albert Finney-headlined Scrooge, is enthusiastically performed in the picture but I don't think works at all on its own terms, without the imagery of the choreography. It's also, much like the film itself, just kind of drab.

Robbed in a big way of a nomination this year (and more memorable than even the Andrews track) - Johnny Mandel's unforgettable theme to MASH, "Suicide Is Painless."

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. "High Hopes," A Hole in the Head (1959)
  4. "Whatever Will Be, Will Be (Que Sera, Sera)," The Man Who Knew Too Much (1956)
  5. "Mona Lisa," Captain Carey, U.S.A. (1950)
  6. "You'll Never Know," Hello, Frisco, Hello (1943)
  7. "On the Atchison, Topeka and the Santa Fe," The Harvey Girls (1946)
  8. "Baby, It's Cold Outside," Neptune's Daughter (1949)
  9. "The Windmills of Your Mind," The Thomas Crown Affair (1968)
  10. "Raindrops Keep Fallin' on My Head," Butch Cassidy and the Sundance Kid (1969)
  11. "High Noon (Do Not Forsake Me, On My Darlin')," High Noon (1952)
  12. "Secret Love," Calamity Jane (1953)
  13. "White Christmas," Holiday Inn (1942)
  14. "Moon River," Breakfast at Tiffany's (1961)
  15. "When You Wish Upon a Star," Pinocchio (1940)
  16. "Thanks for the Memory," The Big Broadcast of 1938 (1938)
  17. "Lullaby of Broadway," Gold Diggers of 1935 (1935)
  18. "Zip-a-Dee-Doo-Dah," Song of the South (1947)
  19. "Days of Wine and Roses," Days of Wine and Roses (1962)
  20. "For All We Know," Lovers and Other Strangers (1970)
  21. "All the Way," The Joker Is Wild (1957)
  22. "It Might As Well Be Spring," State Fair (1945)
  23. "The Last Time I Saw Paris," Lady Be Good (1941)
  24. "In the Cool, Cool, Cool of the Evening," Here Comes the Groom (1951)
  25. "Love Is a Many-Splendored Thing," Love Is a Many-Splendored Thing (1955)
  26. "Born Free," Born Free (1966)
  27. "Never on Sunday," Never on Sunday (1960)
  28. "Three Coins in the Fountain," Three Coins in the Fountain (1954)
  29. "Chim Chim Cher-ee," Mary Poppins (1964)
  30. "Call Me Irresponsible," Papa's Delicate Condition (1963)
  31. "Swinging on a Star," Going My Way (1944)
  32. "Gigi," Gigi (1958)
  33. "The Continental," The Gay Divorcee (1934)
  34. "Sweet Leilani," Waikiki Wedding (1937)
  35. "Buttons and Bows," The Paleface (1948)
  36. "Talk to the Animals," Doctor Dolittle (1967)
  37. "The Shadow of Your Smile," The Sandpiper (1965)

1969 Best Original Song - Here Comes Liza!

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WON: "Raindrops Keep Fallin' on My Head," Butch Cassidy and the Sundance Kid

SHOULD'VE WON: "Come Saturday Morning," The Sterile Cuckoo

1969, the year of unlikely Best Picture Oscar-winner Midnight Cowboy (and no, Harry Nilsson's terrific "Everybody's Talkin'" was not eligible for consideration in Best Original Song), marks quite a strong year in the Original Song category - it's a line-up so solid that the winner, "Raindrops Keep Fallin' on My Head," which I love, doesn't even come out on top for me.

I'll start with the winning track, the Butch Cassidy and the Sundance Kid tune that finally gave Burt Bacharach and Hal David their Oscars after having deserved it at least once or (I would argue) twice in recent years. Performed by B.J. Thomas, the song was a smash Billboard hit, later clocking in at number 23 on AFI's "100 Years...100 Songs" list, and for good reason - it's immensely catchy, with typically brilliant Bacharach-David music and lyrics, and Thomas' vocal is wonderful too. It's a tough song to knock in any way, even if it isn't quite my favorite of the bunch.

That honor goes to "Come Saturday Morning," the truly remarkable collaboration between composers Dory Previn and Fred Karlin and the supremely underrated folk rock group The Sandpipers, for the film The Sterlile Cuckoo, an idiosyncratic coming-of-age story that marked Liza Minnelli's first leading lady vehicle. The tune is drenched in late-'60s nostalgia - it might well be the most '60s-sounding song that's ever been nominated in this category - and has a warm, dreamy quality that puts it right up there with the best of acts like The Beatles and The Byrds.

I am also quite fond of Glen Campbell's "True Grit," from the eponymous John Wayne film, for which the latter scored his Oscar. As western themes go, it's not quite in the same league as say, the title song from High Noon, but it is enjoyable and I would argue one of the more memorable parts of a rather overrated film. "What Are You Doing the Rest of Your Life," from the Jean Simmons starrer The Happy Ending, is a very nice piece too, from the team of Michel Legrand, Alan Bergman and Marilyn Bergman. I'm not terribly fond of the Michael Dees version of the song, however, which appears in the film. A few years later, Barbra Streisand did a cover, as the B-side to "The Way We Were," that was pitch-perfect.

The final nominee, "Jean," from Maggie Smith's Oscar-winning vehicle The Prime of Miss Jean Brodie, is the pretty clear weak link here, a rather dreary theme to an otherwise wonderful film. Replace this song with "We Have All the Time in the World," the underrated Louis Armstrong-performed theme to On Her Majesty's Secret Service, and you'd have a marvelous line-up here from top to bottom.

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. "High Hopes," A Hole in the Head (1959)
  4. "Whatever Will Be, Will Be (Que Sera, Sera)," The Man Who Knew Too Much (1956)
  5. "Mona Lisa," Captain Carey, U.S.A. (1950)
  6. "You'll Never Know," Hello, Frisco, Hello (1943)
  7. "On the Atchison, Topeka and the Santa Fe," The Harvey Girls (1946)
  8. "Baby, It's Cold Outside," Neptune's Daughter (1949)
  9. "The Windmills of Your Mind," The Thomas Crown Affair (1968)
  10. "Raindrops Keep Fallin' on My Head," Butch Cassidy and the Sundance Kid (1969)
  11. "High Noon (Do Not Forsake Me, On My Darlin')," High Noon (1952)
  12. "Secret Love," Calamity Jane (1953)
  13. "White Christmas," Holiday Inn (1942)
  14. "Moon River," Breakfast at Tiffany's (1961)
  15. "When You Wish Upon a Star," Pinocchio (1940)
  16. "Thanks for the Memory," The Big Broadcast of 1938 (1938)
  17. "Lullaby of Broadway," Gold Diggers of 1935 (1935)
  18. "Zip-a-Dee-Doo-Dah," Song of the South (1947)
  19. "Days of Wine and Roses," Days of Wine and Roses (1962)
  20. "All the Way," The Joker Is Wild (1957)
  21. "It Might As Well Be Spring," State Fair (1945)
  22. "The Last Time I Saw Paris," Lady Be Good (1941)
  23. "In the Cool, Cool, Cool of the Evening," Here Comes the Groom (1951)
  24. "Love Is a Many-Splendored Thing," Love Is a Many-Splendored Thing (1955)
  25. "Born Free," Born Free (1966)
  26. "Never on Sunday," Never on Sunday (1960)
  27. "Three Coins in the Fountain," Three Coins in the Fountain (1954)
  28. "Chim Chim Cher-ee," Mary Poppins (1964)
  29. "Call Me Irresponsible," Papa's Delicate Condition (1963)
  30. "Swinging on a Star," Going My Way (1944)
  31. "Gigi," Gigi (1958)
  32. "The Continental," The Gay Divorcee (1934)
  33. "Sweet Leilani," Waikiki Wedding (1937)
  34. "Buttons and Bows," The Paleface (1948)
  35. "Talk to the Animals," Doctor Dolittle (1967)
  36. "The Shadow of Your Smile," The Sandpiper (1965)

1968 Best Original Song - Hitler Was Robbed!

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WON AND SHOULD'VE WON: "The Windmills of Your Mind," The Thomas Crown Affair

I have to give the Academy serious kudos for awarding Mel Brooks the Best Original Screenplay Oscar in 1968 for his brilliant The Producers - I'm awfully skeptical such would happen today, though he might well at least muster the nomination. I also love that Gene Wilder garnered a nomination, even if the nod in Best Supporting Actor makes close to no sense.

What would've made '68 all the more fantastic, however, was if Brooks' spectacularly funny "Springtime for Hitler" managed to pop up in Best Original Song. If "Blame Canada" from South Park: Bigger, Longer and Uncut could garner Oscar love, I certainly don't see why "Hitler" couldn't have done the same. Oh well. What we're ultimately left with in '68 Best Original Song is a bit of a mixed bag, with a terrific winner and some rather unremarkable competition.

The Academy's selection, "The Windmills of Your Mind," from the marvelous Steve McQueen-Faye Dunaway starrer The Thomas Crown Affair, is a top-notch pick, beautifully composed by Michel Legrand, Alan Bergman and Marilyn Bergman and delivered in an idiosyncratic vocal performance by Noel Harrison. The tune has a bit more edge to it than the average Bond theme, for instance, and it's lyrically far more interesting. Notable covers included Dusty Springfield and, of course, Babs.

Speaking of Streisand, '68 of course marked the year she took the big screen by storm with her Oscar-winning turn as Fanny Brice in William Wyler's Funny Girl. The picture is full of terrific showtunes, including "People," "Don't Rain on My Parade" and "My Man." As has been the case with so many stage-to-screen adaptations, an original song was composed specifically for the picture and, as is usually (if not always) the case, it doesn't quite stack up to the rest of the catalogue. "Funny Girl," while performed splendidly by Streisand, just isn't terribly memorable.

Likewise, "For Love of Ivy," composed by Quincy Jones for the middling Sidney Poitier vehicle of the same name, is nicely performed by the great Jazz pianist and vocalist Shirley Horn but too fleeting to leave a real impact. Julie Andrews is in the mix too, for "Star!" (from the eponymous picture), and her nominated track is just as grating and overblown as the film itself. Dick Van Dyke rounds out the line-up with the title track from Chitty Chitty Bang Bang and it's at least more fun than his former Mary Poppins co-star's selection but still, it's no "Windmills of Your Mind." Or "Springtime for Hitler," of course.

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. "High Hopes," A Hole in the Head (1959)
  4. "Whatever Will Be, Will Be (Que Sera, Sera)," The Man Who Knew Too Much (1956)
  5. "Mona Lisa," Captain Carey, U.S.A. (1950)
  6. "You'll Never Know," Hello, Frisco, Hello (1943)
  7. "On the Atchison, Topeka and the Santa Fe," The Harvey Girls (1946)
  8. "Baby, It's Cold Outside," Neptune's Daughter (1949)
  9. "The Windmills of Your Mind," The Thomas Crown Affair (1968)
  10. "High Noon (Do Not Forsake Me, On My Darlin')," High Noon (1952)
  11. "Secret Love," Calamity Jane (1953)
  12. "White Christmas," Holiday Inn (1942)
  13. "Moon River," Breakfast at Tiffany's (1961)
  14. "When You Wish Upon a Star," Pinocchio (1940)
  15. "Thanks for the Memory," The Big Broadcast of 1938 (1938)
  16. "Lullaby of Broadway," Gold Diggers of 1935 (1935)
  17. "Zip-a-Dee-Doo-Dah," Song of the South (1947)
  18. "Days of Wine and Roses," Days of Wine and Roses (1962)
  19. "All the Way," The Joker Is Wild (1957)
  20. "It Might As Well Be Spring," State Fair (1945)
  21. "The Last Time I Saw Paris," Lady Be Good (1941)
  22. "In the Cool, Cool, Cool of the Evening," Here Comes the Groom (1951)
  23. "Love Is a Many-Splendored Thing," Love Is a Many-Splendored Thing (1955)
  24. "Born Free," Born Free (1966)
  25. "Never on Sunday," Never on Sunday (1960)
  26. "Three Coins in the Fountain," Three Coins in the Fountain (1954)
  27. "Chim Chim Cher-ee," Mary Poppins (1964)
  28. "Call Me Irresponsible," Papa's Delicate Condition (1963)
  29. "Swinging on a Star," Going My Way (1944)
  30. "Gigi," Gigi (1958)
  31. "The Continental," The Gay Divorcee (1934)
  32. "Sweet Leilani," Waikiki Wedding (1937)
  33. "Buttons and Bows," The Paleface (1948)
  34. "Talk to the Animals," Doctor Dolittle (1967)
  35. "The Shadow of Your Smile," The Sandpiper (1965)

1967 Best Original Song - Burt Bacharach vs. Baloo the Bear: The Ultimate Showdown

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WON: "Talk to the Animals," Doctor Dolittle

SHOULD'VE WON: "The Look of Love," Casino Royale

1967 should have marked one of the all-time great line-ups for the Best Picture Oscar. It includes brilliant and iconic motion pictures like The Graduate and Bonnie and Clyde, both right up there among the finest films of the decade, if not the century. That year's winner, In the Heat of the Night, is also a terrific, superbly acted piece of cinema and while not everyone is a fan of this one, I still find (the admittedly somewhat dated) Guess Who's Coming to Dinner immensely entertaining. If the Academy had rounded out this category with a film like Two for the Road, Cool Hand Luke, In Cold Blood or The Whisperers, among other fine films from '67, this really would have been one of the Academy's most impressive collection of pictures vying for the top prize.

Alas, that fifth slot did not go to any of those aforementioned films. It went, inexplicably, to Doctor Dolittle, the dull and charmless Rex Harrison vehicle that didn't even have the hearts of audiences or critics back in the day, yet managed to land a slew of Oscar nominations on account of an aggressive marketing campaign by 20th Century Fox.

Fox's success extended to the Best Original Song category in '67, where the lifeless "Talk to the Animals," composed by the usually terrific Leslie Bricusse (who later did marvelous work on films including Willy Wonka and the Chocolate Factory and Victor/Victoria), claimed victory. Much like fellow winners "Gigi" and "Call Me Irresponsible," it's a tune more spoken than sung by the leading man, except "Gigi" was at least featured in a sumptuously photographed scene and "Call Me Irresponsible" had some nice lyrics that were just dampened by Jackie Gleason's lame delivery. This is a lackluster song, showcased in a grating film and performed completely unremarkably.

All the more frustrating is the winner's competition this year was actually, for the most part, quite terrific.

"The Look of Love," yet another Burt Bacharach-Hal David triumph (after "Alfie" the year prior), is performed dazzlingly by the incomparable Dusty Springfield. And "The Bare Necessities" is of course among the most iconic tunes of the entire Disney catalogue. The fight for this prize clearly should have been an all-out barn burner between these two. (Ultimately, I do have a tad more enthusiasm for the former track.)

The other two nominees here are just OK. "The Eyes of Love," from Robert Wagner's oddball golf (!) drama Banning, marks one of Quincy Jones' first Oscar nods (he was nominated twice this year, also for In Cold Blood in Best Original Score), but, by Jones standards at least, is surprisingly by-the-numbers stuff, sounding like something Frank Sinatra may have rejected. "Thoroughly Modern Millie," from the eponymous Julie Andrews picture, is a curiously low-energy (like the film itself) piece from the usually terrific Sammy Cahn-Jimmy Van Heusen team. It was later adapted to much greater success on Broadway, headlined by Sutton Foster.

Egregiously snubbed this year, in spite of an Oscar nom for John Williams' fine score for the film, was "(Theme from) Valley of the Dolls," a gorgeous ballad for Dionne Warwick, composed by the great André Previn. Also ignored, albeit not quite on the same level as that tune, was Nancy Sinatra's "You Only Live Twice," from the Bond flick of the same name, which, while perhaps not quite up there with the likes of "Goldfinger" or "Nobody Does It Better," most certainly would have been a deserving Oscar nominee 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. "High Hopes," A Hole in the Head (1959)
  4. "Whatever Will Be, Will Be (Que Sera, Sera)," The Man Who Knew Too Much (1956)
  5. "Mona Lisa," Captain Carey, U.S.A. (1950)
  6. "You'll Never Know," Hello, Frisco, Hello (1943)
  7. "On the Atchison, Topeka and the Santa Fe," The Harvey Girls (1946)
  8. "Baby, It's Cold Outside," Neptune's Daughter (1949)
  9. "High Noon (Do Not Forsake Me, On My Darlin')," High Noon (1952)
  10. "Secret Love," Calamity Jane (1953)
  11. "White Christmas," Holiday Inn (1942)
  12. "Moon River," Breakfast at Tiffany's (1961)
  13. "When You Wish Upon a Star," Pinocchio (1940)
  14. "Thanks for the Memory," The Big Broadcast of 1938 (1938)
  15. "Lullaby of Broadway," Gold Diggers of 1935 (1935)
  16. "Zip-a-Dee-Doo-Dah," Song of the South (1947)
  17. "Days of Wine and Roses," Days of Wine and Roses (1962)
  18. "All the Way," The Joker Is Wild (1957)
  19. "It Might As Well Be Spring," State Fair (1945)
  20. "The Last Time I Saw Paris," Lady Be Good (1941)
  21. "In the Cool, Cool, Cool of the Evening," Here Comes the Groom (1951)
  22. "Love Is a Many-Splendored Thing," Love Is a Many-Splendored Thing (1955)
  23. "Born Free," Born Free (1966)
  24. "Never on Sunday," Never on Sunday (1960)
  25. "Three Coins in the Fountain," Three Coins in the Fountain (1954)
  26. "Chim Chim Cher-ee," Mary Poppins (1964)
  27. "Call Me Irresponsible," Papa's Delicate Condition (1963)
  28. "Swinging on a Star," Going My Way (1944)
  29. "Gigi," Gigi (1958)
  30. "The Continental," The Gay Divorcee (1934)
  31. "Sweet Leilani," Waikiki Wedding (1937)
  32. "Buttons and Bows," The Paleface (1948)
  33. "Talk to the Animals," Doctor Dolittle (1967)
  34. "The Shadow of Your Smile," The Sandpiper (1965)

1966 Best Original Song - Dionne Warwick Did It Better

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WON: "Born Free," Born Free

SHOULD'VE WON: "Alfie," Alfie

The legendary Dionne Warwick's 1967 rendition of "Alfie" is among my all-time favorite records. Warwick had such a sterling way with Burt Bacharach and Hal David - she so beautifully captured the spirit of their music and lyrics, and "Alfie" found the duo very much operating at the top of their game. "Alfie," "Anyone Who Had a Heart," "Don't Make Me Over" - all unimpeachable classics, a dazzling teaming of just the right vocalist and composers.

Alas, Warwick's was not the original "Alfie," included in the '66 Michael Caine film - that honor went to Cilla Black, in the UK release, and Cher, on the US side. I'm afraid neither Black nor Cher quite capture the magic Warwick did the following year - Black's vocal is something of an acquired taste (I have a tough time loving it) and Cher sounds quite splendid, but the production on her version, conducted by then-husband Sonny Bono, is a loud and distracting Phil Spector imitation that ultimately overwhelms her fine vocal. The Warwick cover has a romantic nuance and subtlety that is sorely missing in the previous versions.

With that said, even taking into account my criticisms of the Black/Cher originals, I still rather handily give "Alfie" the prize here. The Bacharach/David music and lyrics can't be beat and it's a rather unremarkable year otherwise.

John Barry and Don Black, the team behind several fine James Bond themes, prevailed here for "Born Free," from the picture of the same name. The tune wants to be a soaring, inspirational experience, and with a boffo vocal performance by Matt Monro, it comes reasonably close, but ultimately I think is more cheesy than anything else. Still, there have been far worse winners here.

I enjoy The Seekers' "Georgy Girl," from the eponymous film that put Lynn Redgrave on the map as leading lady material. Much like "Town Without Pity" reeked (in a good way, of course) of early '60s pop-rock, "Georgy Girl," more than any other song that has played thus far, very much brings to mind the more folksy pop-rock from later in the decade.

Less notable are "My Wishing Doll," performed by Julie Andrews for a hot second in George Roy Hill's overblown Hawaii, and "A Time for Love," performed by Jackie Ward (dubbing for Janet Leigh) in the massive box office and critical disaster An American Dream - the latter is pretty much the epitome of elevator music.

As for the snubbed this year, an instrumental version of "Strangers in the Night," later performed to immense success by Frank Sinatra, was actually first showcased in the obscure James Garner comedy A Man Could Get Killed, winning the Golden Globe that year for Best Original Song. I think it's very nice but surely not as memorable without the Sinatra vocal.

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. "High Hopes," A Hole in the Head (1959)
  4. "Whatever Will Be, Will Be (Que Sera, Sera)," The Man Who Knew Too Much (1956)
  5. "Mona Lisa," Captain Carey, U.S.A. (1950)
  6. "You'll Never Know," Hello, Frisco, Hello (1943)
  7. "On the Atchison, Topeka and the Santa Fe," The Harvey Girls (1946)
  8. "Baby, It's Cold Outside," Neptune's Daughter (1949)
  9. "High Noon (Do Not Forsake Me, On My Darlin')," High Noon (1952)
  10. "Secret Love," Calamity Jane (1953)
  11. "White Christmas," Holiday Inn (1942)
  12. "Moon River," Breakfast at Tiffany's (1961)
  13. "When You Wish Upon a Star," Pinocchio (1940)
  14. "Thanks for the Memory," The Big Broadcast of 1938 (1938)
  15. "Lullaby of Broadway," Gold Diggers of 1935 (1935)
  16. "Zip-a-Dee-Doo-Dah," Song of the South (1947)
  17. "Days of Wine and Roses," Days of Wine and Roses (1962)
  18. "All the Way," The Joker Is Wild (1957)
  19. "It Might As Well Be Spring," State Fair (1945)
  20. "The Last Time I Saw Paris," Lady Be Good (1941)
  21. "In the Cool, Cool, Cool of the Evening," Here Comes the Groom (1951)
  22. "Love Is a Many-Splendored Thing," Love Is a Many-Splendored Thing (1955)
  23. "Born Free," Born Free (1966)
  24. "Never on Sunday," Never on Sunday (1960)
  25. "Three Coins in the Fountain," Three Coins in the Fountain (1954)
  26. "Chim Chim Cher-ee," Mary Poppins (1964)
  27. "Call Me Irresponsible," Papa's Delicate Condition (1963)
  28. "Swinging on a Star," Going My Way (1944)
  29. "Gigi," Gigi (1958)
  30. "The Continental," The Gay Divorcee (1934)
  31. "Sweet Leilani," Waikiki Wedding (1937)
  32. "Buttons and Bows," The Paleface (1948)
  33. "The Shadow of Your Smile," The Sandpiper (1965)