"Zip-a-Dee-Doo-Dah," Song of the South (1947)."Lullaby of Broadway," Gold Diggers of 1935 (1935)."Thanks for the Memory," The Big Broadcast of 1938 (1938)."When You Wish Upon a Star," Pinocchio (1940)."Moon River," Breakfast at Tiffany's (1961)."On the Atchison, Topeka and the Santa Fe," The Harvey Girls (1946)."You'll Never Know," Hello, Frisco, Hello (1943)."Beauty and the Beast," Beauty and the Beast (1991)."Can You Feel the Love Tonight," The Lion King (1994)."High Noon (Do Not Forsake Me, On My Darlin')," High Noon (1952)."Under the Sea," The Little Mermaid (1989)."Raindrops Keep Fallin' on My Head," Butch Cassidy and the Sundance Kid (1969)."Let the River Run," Working Girl (1988)."The Way We Were," The Way We Were (1973)."The Windmills of Your Mind," The Thomas Crown Affair (1968).
"(I've Had) the Time of My Life," Dirty Dancing (1987)."Baby, It's Cold Outside," Neptune's Daughter (1949)."Whatever Will Be, Will Be (Que Sera, Sera)," The Man Who Knew Too Much (1956)."Streets of Philadelphia," Philadelphia (1993)."High Hopes," A Hole in the Head (1959)."The Way You Look Tonight," Swing Time (1936)."Over the Rainbow," The Wizard of Oz (1939).The production is decent-enough here but I've never been too fond of Groban's vocal work - I find it more bombastic than anything else - and the lyrics are like having a gallon of molasses poured into one's ears. The final nominee falls somewhere between the top two and bottom-of-the-barrel two - Alan Silvestri's "Believe," from The Polar Express, performed here by Josh Groban, who was pretty damn beloved around this time in the mid-'00s. Please note that Adam Duritz has an Oscar nomination, while Donald Sutherland and Mia Farrow do not. It's hard to select a runner-up in a batch this anemic but I suppose my second favorite here would be another song from a foreign language film (this time from France), The Chorus' "Look to Your Path." It's a marvelous picture, deservedly nominated this year for Best Foreign Language Film, but beyond some pleasant harmonies, there's not much here to get excited about when it comes to the song.Īt least "Look to Your Path" isn't cringe-inducing, like "Learn to Be Lonely," from Joel Schumacher's trainwreck film adaptation of Andrew Lloyd Webber's The Phantom of the Opera, or "Accidentally in Love," Counting Crows' nauseating bubble gum pop abomination from Shrek 2. It only really stands out on account of the jaw-dropping weakness of the rest of the line-up. It's a fine, nicely performed and produced tune but nothing terribly remarkable. Not only was Drexter's win a groundbreaking victory but also a deserving one, though not exactly because "Al otro lado del río" was an extraordinary piece of music. Drexler's acceptance speech, in which he sang a few lines, could not have been more pitch-perfect.) (Instead, the Academy invited the more A-list likes of Antonio Banderas and Carlos Santana. Jorge Drexler at last shattered that glass ceiling in '04, even if the Academy trampled on his historic moment a bit by egregiously not allowing Drexler to perform his own song at the Oscar ceremony. There were a few nominees prior to the win for The Motorcycle Diaries' "Al otro lado del río" - for instance, '44's "Rio de Janeiro," from Brazil, and '92's "Beautiful Maria of My Soul," from The Mambo Kings - but no victories. Up until '04, however, no Spanish-language song had triumphed here. In 1960, "Never on Sunday," from the eponymous Melinda Mercouri picture, became the first foreign language film to score victory in the category of Best Original Song. WON AND SHOULD'VE WON: "Al otro lado del río," The Motorcycle Diaries
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