1975 Best Original Song - Divas Live '75! Barbra, Diana, Olivia and...Keith?

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WON: "I'm Easy," Nashville

SHOULD'VE WON: "Do You Know Where You're Going To," Mahogany

Now this is one hell of a line-up.

Let's first concede that the only halfway decent film of these five nominees is Nashville, the brilliant Robert Altman ensemble piece that surely deserved more than just a single win on Oscar night. Funny Lady and Mahogany are terrible pictures, though at least have some camp value - the other two, the dreary and manipulative The Other Side of the Mountain and the MASH rip-off Whiffs, have little redeeming value.

All five of these original songs, however, regardless of the quality of the films, are pretty dynamite, though there are two clear second-tier nominees - "Now That We're in Love," a listenable albeit rather generic Steve Lawrence tune that marked Sammy Cahn's final Oscar nomination, and "Richard's Window," a pleasant number for Olivia Newton-John that's a bit on the corny side but sold nicely by the vocalist.

From there, it's an awfully tough call.

Funny Lady, the unnecessary sequel to Funny Girl, is on the level of Mystery Science Theater 3000 parody-worthy in badness, but it was at least a bit notable for its original music, composed by the legendary Fred Ebb and John Kander. "How Lucky Can You Get," while no "People" or "Don't Rain on My Parade," is a marvelous showcase for Barbra Streisand, with some exciting arrangements and instrumentals. It's a tad on the long side but there's enough energy here to sustain the whole thing. In a weaker year, this totally could've come out on top for me.

Keith Carradine's "I'm Easy" is a beautiful piece and particularly effective and moving in the context of the picture. I'll never forget the haunting look on Lily Tomlin (who should've won the Oscar this year)'s face as Carradine sings this. It also works quite well on its own terms, and was indeed a modest Billboard hit at the time, but certainly the visual of that scene gives it a very striking lift.

But, in spite of my great admiration for the Carradine tune, I can't help myself on this one - I think "Do You Know Where You're Going To" is really one of the great pop-R&B records of the '70s, and perhaps the finest solo record Diana Ross ever produced. Mahogany is a mess and to some extent reminds me of Valley of the Dolls, which too featured a dazzling theme, performed in that case by Dionne Warwick. Somehow, these two turgid soap operas managed to bring out the very best in two of the greatest artists of the '60s/'70s. I'm sure I'll get plenty of shit for not picking "I'm Easy" here but I have no qualms about siding with this dazzling piece of Motown pop.

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. "Baby, It's Cold Outside," Neptune's Daughter (1949)
  7. "The Windmills of Your Mind," The Thomas Crown Affair (1968)
  8. "The Way We Were," The Way We Were (1973)
  9. "Raindrops Keep Fallin' on My Head," Butch Cassidy and the Sundance Kid (1969)
  10. "High Noon (Do Not Forsake Me, On My Darlin')," High Noon (1952)
  11. "I'm Easy," Nashville (1975)
  12. "You'll Never Know," Hello, Frisco, Hello (1943)
  13. "On the Atchison, Topeka and the Santa Fe," The Harvey Girls (1946)
  14. "Theme from Shaft," Shaft (1971)
  15. "Secret Love," Calamity Jane (1953)
  16. "White Christmas," Holiday Inn (1942)
  17. "Moon River," Breakfast at Tiffany's (1961)
  18. "When You Wish Upon a Star," Pinocchio (1940)
  19. "Thanks for the Memory," The Big Broadcast of 1938 (1938)
  20. "Lullaby of Broadway," Gold Diggers of 1935 (1935)
  21. "Zip-a-Dee-Doo-Dah," Song of the South (1947)
  22. "Days of Wine and Roses," Days of Wine and Roses (1962)
  23. "For All We Know," Lovers and Other Strangers (1970)
  24. "All the Way," The Joker Is Wild (1957)
  25. "It Might As Well Be Spring," State Fair (1945)
  26. "The Last Time I Saw Paris," Lady Be Good (1941)
  27. "In the Cool, Cool, Cool of the Evening," Here Comes the Groom (1951)
  28. "Love Is a Many-Splendored Thing," Love Is a Many-Splendored Thing (1955)
  29. "Born Free," Born Free (1966)
  30. "Never on Sunday," Never on Sunday (1960)
  31. "Three Coins in the Fountain," Three Coins in the Fountain (1954)
  32. "Chim Chim Cher-ee," Mary Poppins (1964)
  33. "Call Me Irresponsible," Papa's Delicate Condition (1963)
  34. "Swinging on a Star," Going My Way (1944)
  35. "Gigi," Gigi (1958)
  36. "The Continental," The Gay Divorcee (1934)
  37. "Sweet Leilani," Waikiki Wedding (1937)
  38. "Buttons and Bows," The Paleface (1948)
  39. "Talk to the Animals," Doctor Dolittle (1967)
  40. "The Shadow of Your Smile," The Sandpiper (1965)
  41. "The Morning After," The Poseidon Adventure (1972)
  42. "We May Never Love Like This Again," The Towering Inferno (1974)

1974 Best Original Song - Another Maureen McGovern Disaster

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WON: "We May Never Love Like This Again," The Towering Inferno

SHOULD'VE WON: "I Feel Love," Benji

Moving from the year of "The Way We Were" and "Live and Let Die" to a line-up featuring not just one but inexplicably two maudlin Maureen McGovern tunes...oy.

While 1973 marked what is perhaps the strongest Best Original Song line-up of the decade, '74 nearly competes with the truly dreadful '72 as the decade's bottom of the barrel in original music for the big screen. If not for a couple of these nominees, this category would be roughly on-par with the sounds of cats shrieking or knives on a chalkboard.

The two somewhat redeeming nominees here are "I Feel Love," the cute, supremely pleasant theme from the cute, supremely pleasant Benji, and "Blazing Saddles," from the side-splitting Mel Brooks film. While I can appreciate the nod for "Blazing Saddles," and perhaps even view it as something of a make-up nomination for the egregious snubbing of "Springtime for Hitler" a few years back, it isn't a especially funny or memorable tune. In fact, I could see it serving as the theme to just about any generic western. It's not a bad song, just a slight one, and that gives the solid edge for me to the Benji track.

Beyond Benji and Brooks, however, this line-up is not something to be celebrated.

The one non-McGovern track is "Little Prince," from the eponymous Stanley Donan picture. The Donan film is OK for the most part, an idiosyncratic fantasy-musical featuring the likes of Gene Wilder, Bob Fosse and Donna McKechnie, but the music, from the Alan Jay Lerner-Frederick Lowe team that inflicted Gigi and My Fair Lady on the masses, is awfully underwhelming, with the same grating talk-singing that was so prominent in those two pictures.

"Little Prince" is not, however, quite as ear-piercing as the remaining two tracks, both belted out by the aforementioned McGovern, who, as basically a poor man's Karen Carpenter, managed to attach herself to some of the decade's stinkiest cheese on the big screen.

The losing McGovern song, "Wherever Love Takes Me," from the deservedly forgotten Roger Moore yarn Gold (advice: at all costs, avoid pretty much every non-Bond Moore vehicle), is actually a tad less horrendous than the winner this year, "We May Never Love Like This Again" (from the title alone, you just know what kind of soggy dreck you're getting into), from Irwin Allen's star-studded The Towering Inferno. Somehow, this song manages to be even more shamelessly sentimental (in the worst way possible) than McGovern's "The Morning After," which in '72 seemed to set new standards for movie music crapola.

I'd like to think neither "The Morning After" nor "We May Never Love Like This Again" would have had a prayer of prevailing if they just had remotely formidable competition. Unfortunately, Michael Jackson's "Ben" in '72 and the rest of the line-up here in '74 just weren't very daunting.

In terms of tunes snubbed in '74, I'm afraid it was pretty slim pickings all-around this year, although Curtis Mayfield's soulful "On and On," performed by Gladys Knight and the Pips forClaudine (which netted the great Diahann Carroll a Best Actress Oscar nom), is head and shoulders above all of the songs recognized here. Beyond that, however, I can't think of a whole lot - even the Bond theme this year, "The Man with the Golden Gun," is a snooze.

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. "Baby, It's Cold Outside," Neptune's Daughter (1949)
  7. "The Windmills of Your Mind," The Thomas Crown Affair (1968)
  8. "The Way We Were," The Way We Were (1973)
  9. "Raindrops Keep Fallin' on My Head," Butch Cassidy and the Sundance Kid (1969)
  10. "High Noon (Do Not Forsake Me, On My Darlin')," High Noon (1952)
  11. "You'll Never Know," Hello, Frisco, Hello (1943)
  12. "On the Atchison, Topeka and the Santa Fe," The Harvey Girls (1946)
  13. "Theme from Shaft," Shaft (1971)
  14. "Secret Love," Calamity Jane (1953)
  15. "White Christmas," Holiday Inn (1942)
  16. "Moon River," Breakfast at Tiffany's (1961)
  17. "When You Wish Upon a Star," Pinocchio (1940)
  18. "Thanks for the Memory," The Big Broadcast of 1938 (1938)
  19. "Lullaby of Broadway," Gold Diggers of 1935 (1935)
  20. "Zip-a-Dee-Doo-Dah," Song of the South (1947)
  21. "Days of Wine and Roses," Days of Wine and Roses (1962)
  22. "For All We Know," Lovers and Other Strangers (1970)
  23. "All the Way," The Joker Is Wild (1957)
  24. "It Might As Well Be Spring," State Fair (1945)
  25. "The Last Time I Saw Paris," Lady Be Good (1941)
  26. "In the Cool, Cool, Cool of the Evening," Here Comes the Groom (1951)
  27. "Love Is a Many-Splendored Thing," Love Is a Many-Splendored Thing (1955)
  28. "Born Free," Born Free (1966)
  29. "Never on Sunday," Never on Sunday (1960)
  30. "Three Coins in the Fountain," Three Coins in the Fountain (1954)
  31. "Chim Chim Cher-ee," Mary Poppins (1964)
  32. "Call Me Irresponsible," Papa's Delicate Condition (1963)
  33. "Swinging on a Star," Going My Way (1944)
  34. "Gigi," Gigi (1958)
  35. "The Continental," The Gay Divorcee (1934)
  36. "Sweet Leilani," Waikiki Wedding (1937)
  37. "Buttons and Bows," The Paleface (1948)
  38. "Talk to the Animals," Doctor Dolittle (1967)
  39. "The Shadow of Your Smile," The Sandpiper (1965)
  40. "The Morning After," The Poseidon Adventure (1972)
  41. "We May Never Love Like This Again," The Towering Inferno (1974)

1973 Best Original Song - Misty Watercolor Oscar Memories

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WON AND SHOULD'VE WON: "The Way We Were," The Way We Were

One of my earliest film recollections growing up is the sight of Sydney Pollack's 1973 romance The Way We Were - my mom completely wore out her VHS copy of the picture in the early '90s. I didn't pay a whole lot of attention to the film (I was probably four or five) but I can clearly recall watching certain scenes, including that of Barbra Streisand and an inebriated Robert Redford in bed.

What's interesting is, despite my admiration for Pollack, Streisand and Redford, when I finally got around to sitting down and watching The Way We Were a number of years later, I didn't much care for it. Streisand and Redford are separately pitch-perfect in their roles but I don't much buy them as a couple. Their pairing, seen as unforgettable and downright heart-wrenching by the likes of my mom and, of course, Carrie Bradshaw on Sex and the City, strikes me as more awkward and stilted than captivating. I love the actors but I for one don't see the much-celebrated chemistry and Pollack's clunky direction, among his least interesting work, doesn't help matters - is there really anything notable in the film beyond its star power?

Well, yes, there is at least one other memorable aspect - the picture's music, which, regardless of my lukewarm feeling toward the film itself, is something I would concede is unimpeachably fantastic.

The title song from The Way We Were, composed by the brilliant, EGOT-winning Marvin Hamlisch, alongside Alan and Marilyn Bergman (both operating at the very top of their game), is a dreamy, haunting, immensely moving piece, performed splendidly by Streisand. The film's leading lady strikes just the right notes here, with a vocal turn that is downright breathtaking without ever oversinging. While no "Over the Rainbow" or "The Way You Look Tonight," I have no doubt "The Way We Were" will ultimately rank quite high when my work on Best Original Song is complete.

As for the rest of '73 Best Original Song, it is actually quite a fine category, a significant step-up from the horrors of the '72 line-up.

If I had to select a (distant) runner-up of the four competitors, I suppose I would go with "Love," the underappreciated tune from the comparably underrated Disney picture Robin Hood - again, very heartrending and subtle music here. I'm also quite fond of Paul McCartney and Wings' fierce "Live and Let Die," which marked the first Bond theme to land an Oscar nomination in this category. The tune's spunky orchestrations are especially memorable.

The remaining two nominees are perfectly listenable, if unremarkable adult contemporary fare - Paul Williams' "(You're So) Nice to Be Around," from the Marsha Mason-James Caan romance Cinderella Liberty, and "All That Love Went to Waste," a late Sammy Cahn piece, featured rather briefly in the Glenda Jackson-George Segal romcom A Touch of Class. Unlike "The Way We Were," which marks a true tour-de-force by all involved, these two songs seem kind of phoned-in. Still, they're both superior to everything nominated in '72.

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. "Baby, It's Cold Outside," Neptune's Daughter (1949)
  7. "The Windmills of Your Mind," The Thomas Crown Affair (1968)
  8. "The Way We Were," The Way We Were (1973)
  9. "Raindrops Keep Fallin' on My Head," Butch Cassidy and the Sundance Kid (1969)
  10. "High Noon (Do Not Forsake Me, On My Darlin')," High Noon (1952)
  11. "You'll Never Know," Hello, Frisco, Hello (1943)
  12. "On the Atchison, Topeka and the Santa Fe," The Harvey Girls (1946)
  13. "Theme from Shaft," Shaft (1971)
  14. "Secret Love," Calamity Jane (1953)
  15. "White Christmas," Holiday Inn (1942)
  16. "Moon River," Breakfast at Tiffany's (1961)
  17. "When You Wish Upon a Star," Pinocchio (1940)
  18. "Thanks for the Memory," The Big Broadcast of 1938 (1938)
  19. "Lullaby of Broadway," Gold Diggers of 1935 (1935)
  20. "Zip-a-Dee-Doo-Dah," Song of the South (1947)
  21. "Days of Wine and Roses," Days of Wine and Roses (1962)
  22. "For All We Know," Lovers and Other Strangers (1970)
  23. "All the Way," The Joker Is Wild (1957)
  24. "It Might As Well Be Spring," State Fair (1945)
  25. "The Last Time I Saw Paris," Lady Be Good (1941)
  26. "In the Cool, Cool, Cool of the Evening," Here Comes the Groom (1951)
  27. "Love Is a Many-Splendored Thing," Love Is a Many-Splendored Thing (1955)
  28. "Born Free," Born Free (1966)
  29. "Never on Sunday," Never on Sunday (1960)
  30. "Three Coins in the Fountain," Three Coins in the Fountain (1954)
  31. "Chim Chim Cher-ee," Mary Poppins (1964)
  32. "Call Me Irresponsible," Papa's Delicate Condition (1963)
  33. "Swinging on a Star," Going My Way (1944)
  34. "Gigi," Gigi (1958)
  35. "The Continental," The Gay Divorcee (1934)
  36. "Sweet Leilani," Waikiki Wedding (1937)
  37. "Buttons and Bows," The Paleface (1948)
  38. "Talk to the Animals," Doctor Dolittle (1967)
  39. "The Shadow of Your Smile," The Sandpiper (1965)
  40. "The Morning After," The Poseidon Adventure (1972)

1972 Best Original Song - Not Even Gene Hackman Can Save This

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WON: "The Morning After," The Poseidon Adventure

SHOULD'VE WON: "Ben," Ben

1972 marked a perfectly respectable year at the Oscars, for the most part. Five fantastic films, in fact, filled up Best Picture - Cabaret, Deliverance, The Emigrants, The Godfather and Sounder. Add to that nominations for terrific pictures like Sleuth, Lady Sings the Blues and Travels with My Aunt, and there was no shortage of great cinema on display.

This good fortune, however, did not extend to Best Original Song. In fact, '72 marks what might well be the all-time worst line-up in the category, a shortlist chock-full of lackluster material that's awfully difficult to embrace in nearly any way.

The category's victor, "The Morning After," for sure is among the worst Best Original Song winners, if not ultimately the most abysmal, and this is coming from a fan of Ronald Neame's star-studded disaster flick The Poseidon Adventure. The thing is, I love just about everything in Poseidon, except for the scene in which Carol Lynley sings this insipid, turgid ballad. The Maureen McGovern version proved a big Billboard hit, which really only serves to call into question listeners' tastes at the time. It's a song so insipid even Celine Dion would experience nausea.

My pick this year I suppose would have to be "Ben," from the eponymous rat horror flick, which is gorgeously performed by a young Michael Jackson, though tough to take very seriously given...well, it's featured in a movie about a rat. But that's still a step-up from "The Morning After" and the comparably dreadful "Come Follow, Follow Me" and "Strange Are the Ways of Love."

The fifth nominee, "Marmalade, Molasses and Honey," has to be the worst thing Maurice Jarre, Alan Bergman and Marilyn Bergman ever received Oscar recognition for. Performed by Andy Williams, it is, however, a little more listenable than the three non-"Ben" nominees.

The real insanity of this year is the Academy had an obvious opportunity to reward terrific material in Best Original Song by nominating John Kander and Fred Ebb for their three original tunes in Cabaret - "Mein Herr," "Money, Money" and "Maybe This Time." It is completely inexplicable to me how these well-regarded tunes were ignored, and yet dreck like "The Morning After" and "Strange Are the Ways of Love" showed up, particularly considering how much the Academy adored Cabaret, even giving Bob Fosse the upset over Francis Ford Coppola in Best Director. Bizarre.

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. "Theme from Shaft," Shaft (1971)
  13. "Secret Love," Calamity Jane (1953)
  14. "White Christmas," Holiday Inn (1942)
  15. "Moon River," Breakfast at Tiffany's (1961)
  16. "When You Wish Upon a Star," Pinocchio (1940)
  17. "Thanks for the Memory," The Big Broadcast of 1938 (1938)
  18. "Lullaby of Broadway," Gold Diggers of 1935 (1935)
  19. "Zip-a-Dee-Doo-Dah," Song of the South (1947)
  20. "Days of Wine and Roses," Days of Wine and Roses (1962)
  21. "For All We Know," Lovers and Other Strangers (1970)
  22. "All the Way," The Joker Is Wild (1957)
  23. "It Might As Well Be Spring," State Fair (1945)
  24. "The Last Time I Saw Paris," Lady Be Good (1941)
  25. "In the Cool, Cool, Cool of the Evening," Here Comes the Groom (1951)
  26. "Love Is a Many-Splendored Thing," Love Is a Many-Splendored Thing (1955)
  27. "Born Free," Born Free (1966)
  28. "Never on Sunday," Never on Sunday (1960)
  29. "Three Coins in the Fountain," Three Coins in the Fountain (1954)
  30. "Chim Chim Cher-ee," Mary Poppins (1964)
  31. "Call Me Irresponsible," Papa's Delicate Condition (1963)
  32. "Swinging on a Star," Going My Way (1944)
  33. "Gigi," Gigi (1958)
  34. "The Continental," The Gay Divorcee (1934)
  35. "Sweet Leilani," Waikiki Wedding (1937)
  36. "Buttons and Bows," The Paleface (1948)
  37. "Talk to the Animals," Doctor Dolittle (1967)
  38. "The Shadow of Your Smile," The Sandpiper (1965)
  39. "The Morning After," The Poseidon Adventure (1972)

1971 Best Original Song - The Willy Wonka Robbery

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WON AND SHOULD'VE WON: "Theme from Shaft," Shaft

I have long been an immense fan of Mel Stuart's 1971 Gene Wilder musical classic Willy Wonka and the Chocolate Factory -  it has that same ultra-rare movie magic of pictures like The Wizard of Oz and E.T.: The Extra Terrestrial. It really does sweep me off my feet time after time, no doubt largely in part to sheer nostalgic, but it's still a damn great film. The art direction, Wilder's marvelously mad performance, the perfection of the ensemble all-around, the spectacularly quotable dialogue...I adore it all. Heck, I totally would've nominated this for Best Picture in '71.

Of course, one of the best parts of Willy Wonka is its score, a bravura collaboration between Leslie Bricusse and Anthony Newley that features greats like "The Candy Man" and "I've Got a Golden Ticket." I most admire, however, the dazzling "Pure Imagination," a tremendously moving and timeless piece, delivered to perfection by Wilder. The instrumentals on it are so wonderful, too. Much as I respect this year's winner, "Pure Imagination" would've been my top pick for Best Original Song in '71.

(While we're still on the topic of the snubbed of '71, Shirley Bassey's "Diamonds Are Forever" probably should've been here as well, even if it's no "Goldfinger.")

As for this year's actual honorees, Isaac Hayes' "Theme from Shaft" is a richly deserved winner, an unimpeachable badass of a record that's instantly recognizable from the opening few seconds. Its inspiration on the soul and funk to emerge over the coming decade cannot be understated...indeed, it's perhaps one of the all-time most influential pieces to win this trophy. No bones about it, Hayes deserved to triumph in a cakewalk, especially against this competition.

As for that competition, it's more simply unremarkable than it is terribly weak.

I actually like The Carpenters' "Bless the Beasts and Children," warmly performed by Karen Carpenter, and "All His Children," a very listenable country tune, composed by Henry Mancini, Alan Bergman and Marilyn Bergman and performed by the great Charley Pride. But neither quite pops in the same way "Theme from Shaft" so intensely does. Likewise, I love Angela Lansbury but her "The Age of Not Believing" just isn't a very memorable showcase.

The final nominee, "Life Is What You Make It," from the Walter Matthau vehicle Kotch, is a syrupy-sweet collaboration between Marvin Hamlisch and Johnny Mercer. Hamlisch would find greater luck two years later with a certain Streisand song...

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. "Theme from Shaft," Shaft (1971)
  13. "Secret Love," Calamity Jane (1953)
  14. "White Christmas," Holiday Inn (1942)
  15. "Moon River," Breakfast at Tiffany's (1961)
  16. "When You Wish Upon a Star," Pinocchio (1940)
  17. "Thanks for the Memory," The Big Broadcast of 1938 (1938)
  18. "Lullaby of Broadway," Gold Diggers of 1935 (1935)
  19. "Zip-a-Dee-Doo-Dah," Song of the South (1947)
  20. "Days of Wine and Roses," Days of Wine and Roses (1962)
  21. "For All We Know," Lovers and Other Strangers (1970)
  22. "All the Way," The Joker Is Wild (1957)
  23. "It Might As Well Be Spring," State Fair (1945)
  24. "The Last Time I Saw Paris," Lady Be Good (1941)
  25. "In the Cool, Cool, Cool of the Evening," Here Comes the Groom (1951)
  26. "Love Is a Many-Splendored Thing," Love Is a Many-Splendored Thing (1955)
  27. "Born Free," Born Free (1966)
  28. "Never on Sunday," Never on Sunday (1960)
  29. "Three Coins in the Fountain," Three Coins in the Fountain (1954)
  30. "Chim Chim Cher-ee," Mary Poppins (1964)
  31. "Call Me Irresponsible," Papa's Delicate Condition (1963)
  32. "Swinging on a Star," Going My Way (1944)
  33. "Gigi," Gigi (1958)
  34. "The Continental," The Gay Divorcee (1934)
  35. "Sweet Leilani," Waikiki Wedding (1937)
  36. "Buttons and Bows," The Paleface (1948)
  37. "Talk to the Animals," Doctor Dolittle (1967)
  38. "The Shadow of Your Smile," The Sandpiper (1965)