See Nominees
One thing you can say about this year's Oscar race for original song: Music branch voters weren't wowed by the big pop and rock star names that now seem to litter the cinema landscape.
Eligible, but missing from the list, along with probable reasons why:
- Elton John's '50s-style bubblegum from "Mona Lisa Smile" (movie not a favorite with the mostly male branch);
- Eddie Vedder's electric-guitar elegy from "Big Fish" (too on the nose for the funeral finale, a stylistic clash with the score);
- Diane Warren's rock anthem from "Legally Blonde 2" (few liked the film);
- Bob Dylan's eight-minute Civil War ballad from "Gods and Generals" (few sat through the whole thing);
- Phil Collins' songs for Disney's animated "Brother Bear" (tired and lame even by Collins' "Tarzan" standards);
- Bono's easy-rocking tune for "In America" (a little too upbeat and maybe incomprehensible to some); and
- David Byrne's strange-sounding ditty for "Dirty Pretty Things" (too few people saw it).
Despite Eminem's Oscar win last year for his "Lose Yourself" rap from "8 Mile," this year's batch contains nothing so cutting-edge that might either galvanize or repel voters.
"Cold Mountain" must loom as a strong possibility for the Oscar. The film is substantially music-driven, including several on-camera performances of traditional songs by Jack White and others. Both of its two original tunes were nominated.
Conventional Oscar-night wisdom says that two nominations in the same category usually result in a split vote and certain loss for both nominees. But in the past 25 years, 11 films have received more than one song nomination and eight have won (including three non-musicals).
Sting, one of pop's true intellectuals, drew on 19th-century American folk traditions when he wrote "You Will Be My Ain True Love" for bluegrass vocalist Alison Krauss. Portions of the song appear four times during the narrative, and its reflection of the mindset of Jude Law's character could easily resonate with voters who liked Anthony Minghella's Civil War epic.
Voters may also remember that Sting has consistently contributed good songs to movies, most recently the Oscar-nominated, waltz-time "Until" for "Kate & Leopold" two years ago.
Producer T Bone Burnett -- whose thorough understanding of American roots music turned the "O Brother, Where Art Thou?" soundtrack into a record-industry phenomenon -- co-wrote the other nominee, "The Scarlet Tide," with Elvis Costello. Its placement over the film's end titles may hurt its Oscar chances, however (after 2½ hours, most viewers were rushing for the exit).
"A Mighty Wind," latest in the series of Christopher Guest-Michael McKean mockumentaries, is a favorite among music buffs for its clever parody of aging folkies. The music branch, presented with two songs -- the title tune and "A Kiss at the End of the Rainbow" -- chose the latter.
Written by co-star McKean and his actress-wife, Annette O'Toole, "A Kiss" is at the heart of the film, the signature song of '60s folk singers Mitch and Mickey (Eugene Levy, Catherine O'Hara) who reunite many years later amid difficult, and funny, circumstances. Despite the popularity of earlier, music-oriented McKean-Guest efforts like "This Is Spinal Tap" and "Waiting for Guffman," "A Mighty Wind" marks their first time at bat with Oscar.
"Into the West" underscores the goodbyes that Frodo and Gandalf make to their companions in the finale of "The Lord of the Rings: The Return of the King." With a text based on the final chapter of J.R.R. Tolkien's classic (using imagery like "silver glass," "white shores" and the title phrase), it's a touching farewell for both the characters and the film trilogy.
Composer Howard Shore -- an Oscar winner for "The Fellowship of the Ring" score and a nominee for the "King" score -- penned the song with screenwriter Fran Walsh and vocalist Annie Lennox. For fans of the trilogy, the song is so powerful in its original context that it could easily win over a majority of voters.
Nearly every year, the branch votes in one tune that surprises everyone -- and, we're sure, ticks off the likes of Elton John and Bono. This year, it's the theme from popular French animated film "The Triplets of Belleville."
The French lyrics, by director Sylvain Chomet, are indecipherable (even in the English-language translation at the movie's end), but the Django Reinhardt-style music, courtesy of composer-guitarist Ben Charest, is incredibly catchy. No one gives it much chance at the Oscar, but a performance of this lively tune will certainly brighten up the telecast on Feb. 29.
Into the West - The Lord of the Rings: The Return of the KingSongwriters: Fran Walsh, Howard Shore, Annie Lennox
Oscar pedigree: Walsh (four noms); Shore (one nom, one win), Lennox (none)
Performer: Lennox
Other honors: Golden Globes win
Of note: The words are based on the J.R.R. Tolkien trilogy's final paragraphs
A Kiss at the End of the Rainbow - A Mighty WindSongwriters: Michael McKean, Annette O'Toole
Performers: Eugene Levy, Catherine O'Hara
Other honors: L.A. Film Critics runner-up for score
Of note: McKean's in the film, O'Toole is not
Scarlet Tide - Cold MountainSongwriters: T Bone Burnett, Elvis Costello
Performer: Alison Krauss
Of note: Burnett produced film's traditional folk music
The Triplets of Belleville - The Triplets of BellevilleSongwriters: Benoit Charest, above, Sylvain Chomet
Oscar pedigree: Chomet (one nom), Charest (none)
Performer: M (Mathieu Chedid)
Other honors: L.A. Film Critics win
Of note: Charest is the film's French composer, Chomet the filmmaker
You Will Be My Ain True Love - Cold MountainSongwriter: Sting
Oscar pedigree: Two noms, no wins
Performer: Alison Krauss
Other honors: Golden Globes nom
Of note: Sting sings backup for Krauss on the track
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