Best Original Song: Ranking Every Oscar Nominee
Written by Andreas Babiolakis
Let’s get right down to it: this is typically my least favourite category of the entire awards. I think that it serves much less of a purpose in a world where musicals aren’t nearly as prominent, especially when mainstream artists are commissioned to make songs to sell films and/or wind up as Oscar nominees squarely in this category. Oftentimes the nominees here will just have songs slapped at the end of feature films with a hope that they will win over the Academy, and it works frequently enough. I care more for songs that are properly integrated into a feature film (even intro credits can set a scene), but I’m going to be realistic and not have placement of a song as my criteria, considering how many songs here are just meant to usher us out of a film. Nonetheless, do I actually like the songs this year? I’d argue at least four of the five are worth hearing. Let’s see what those are. Here are your nominees.
Biggest Snub: “So May We Start”-Annette
First of all, it would be nice to honour why this category is even here in the first place (to remark on the elements that strengthen musicals), and Encanto is the only musical film of any sort here. Annette seems like too daring of a selection for the Oscars, but “So May We Start” actually was a short listed nominee. It’s a very interesting song (especially in a metaphysical sense), and it would be nice to see an unorthodox selection in such a sanitary, safe, and lacklustre category at least once in a while.
5. Four Good Days-”Somehow You Do”, Music and Lyric by Diane Warren
I think it’s borderline sadistic how Diane Warren keeps getting toyed around with by the Academy: so many times she is nominated for films that can’t stand a chance against its peers, and I feel like thirteen (!) nominations without a win is more damage than good (let’s be honest, she should have won back in 2016 for “‘Til It Happens to You” anyway). Besides, this Reba McEntire ballad at the end of Four Good Days is just okay and nothing special. Keep at it, Warren. One day the Oscar will finally be yours, but the competition is far too stiff, and this song is just too standard.
4. Belfast-”Down to Joy”, Music and Lyric by Van Morrison
I am quite a big fan of Van Morrison’s music, especially his magnum opus Astral Weeks (which contains some of the greatest songwriting ever). To see him get nominated for an Oscar is pretty sweet (even if I really don’t side with his current politics). The song he wrote for Belfast feels like the tiny bits of light that shine through the hardships of life. Morrison can definitely write sad music, but it’s nice to see him provide a bit of celebration as well. I feel like “Down to Joy” is stronger lyrically than musically, but it does resonate in Belfast: a love letter to the Ireland of yesteryear even in its darkest hours.
3. No Time to Die-”No Time to Die”, Music and Lyric by Billie Eilish and Finneas O’Connell
I won’t lie: this is actually a pretty good Bond theme. I feel like the Academy just goes for the James Bond songs for no rhyme or reason sometimes, but Billie Eilish and brother Finneas have crafted a melodramatic ballad that bridges the dynamic No Time to Die introductory sequence with the rest of the film: it is a melodic reminder that even this beloved agent isn’t invincible, and anything can happen. If anything, I wouldn’t mind hearing more cinematic songs from Eilish who really seems to be in her element here.
2. Encanto-”Dos Oruguitas”, Music and Lyric by Lin-Manuel Miranda
Firstly, I will write that so many songs from Encanto could have wound up as a second nomination here (I don’t need to talk about “We Don’t Talk About Bruno”, I’m sure), but I’m glad that the one song representing the film is the stunning “Dos Oruguitas”. It’s used in the film twice: once as the accompaniment of some of the film’s most tender moments, and finally to resolve the entire feature as an outro. In either instance the song is a touching ballad that shows the softer side of Lin-Manuel Miranda, and maybe it is this angle that will finally get him that Oscar he’s been vying for.
1. King Richard-”Be Alive”, Music and Lyric by Dixon and Beyoncé Knowles-Carter
I do like Beyoncé’s music, but I wouldn’t just be ranking her number one here if I don’t think she deserved it. She provides a bombastic, triumphant outro to King Richard that embodies the themes of female perseverance. Paired up with some footage of the real people that the film just spent two and a half hours presenting to us, Beyoncé’s “Be Alive” stands out on its own as well as it accompanies the images placed on top perfectly. I feel like it truly is effective as a song alone and as a piece of a feature film.
Who I want to win: I do like Beyoncé’s song the most, but for Lin-Manuel Miranda to get that EGOT would feel pretty sweet. Nonetheless, all of these other nominees are noteworthy musicians in their own rights, either in a contemporary sense or via a legendary stature. In a way, I also feel really badly for Diane Warren and wouldn’t mind if she finally had a break. In short, I don’t necessarily mind who wins this award at all.
Who I think will win: This category is so difficult to predict, and often enough I don’t get it right (unless it’s a more obvious year). I feel like we have two big possible winners here: Encanto and No Time to Die. Disney is usually a big bet here, but Bond films have dominated before (and they felt unbeatable the last two times they won in this category). I’ll currently label No Time to Die the frontrunner but expect anything. Maybe votes split, and the two Best Picture nominees (King Richard and Belfast) could wind up with a surprise win here (like Judas and the Black Messiah did last year), or Diane Warren could finally sneak in a win due to this divide as well. Expect anything. I’ll still predict No Time to Die for now, especially given Billie Eilish’s present dominance (her documentary was shortlisted as a nominee: case in point).
Tune in tomorrow for our next Academy Award category! We’re reviewing every single nominee on every weekday.
Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Ryerson University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.