1938 Best Original Song - Oscar Memories

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WON AND SHOULD'VE WON: "Thanks for the Memory," The Big Broadcast of 1938

'38 marks the first of seven occasions in Oscar history when 10 or more tunes were nominated in Best Original Song. (Why, exactly, they opted to nominate just four songs the next year, in '39, only to return to 10 in '40, seems a mystery.) Somehow, however, in spite of the plethora of work recognized this year, there isn't a whole lot to write home about among the Academy's selections.

Two of the nominated songs - the dreary, Roy Rogers-performed "Dust" and fleeting, Don Ameche-sung "Now It Can Be Told" - are probably best left forgotten. Another two - the aptly titled "Merrily We Live" and "The Cowboy and the Lady" - are kind of fun in a TV sitcom theme song kind of way...you bop your ahead along until the 90 seconds are over and then raise your eyebrow in disbelief that this stuff somehow garnered an Oscar nom.

A few of the pieces recognized are nicely performed, but not especially memorable - I'm looking at "Always and Always" from the Joan Crawford starrer Mannequin; "A Mist over the Moon," an early and rather overlong Oscar Hammerstein effort; and "My Own," admirably belted out by That Certain Age leading lady Deanna Durbin.

For me, this ultimately comes down to the three remaining nominees - the Louis Armstrong-performed "Jeepers Creepers," Fred Astaire crooning another Oscar nominated track with "Change Partners" and the winner, the classic Bob Hope-Shirley Ross duet "Thanks for the Memory."

Depending on the performer, "Jeepers Creepers" can be a headache-inducing jingle. Armstrong just happens to sell it perfectly. Astaire's "Change Partners" is warm, lovely and charming, albeit not quite in the same league as say, "The Way You Look Tonight." Ultimately, I side with the delightful "Thanks for the Memory," as I think it quite clearly has best-stood the test of time, of these 10 nominees. While "Change Partners" comes close and you can't go wrong with that Armstrong vocal, I think "Thanks for the Memory" is really the only truly timeless and iconic track to be found here.

The Oscar-winners ranked (thus far)...

  1. "The Way You Look Tonight," Swing Time (1936)
  2. "Thanks for the Memory," The Big Broadcast of 1938 (1938)
  3. "Lullaby of Broadway," Gold Diggers of 1935 (1935)
  4. "Sweet Leilani," Waikiki Wedding (1937)
  5. "The Continental," The Gay Divorcee (1934)

1937 Best Original Song - Searching for Snow White

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WON: "Sweet Leilani," Waikiki Wedding

SHOULD'VE WON: "Remember Me," Mr. Dodd Takes the Air

In listening to the 1937 Oscar nominees for Best Original Song, the immediate takeaway is "wow, this evidently was not an especially noteworthy year in movie music." Then, however, you realize '37 was the release year of one of the all-time great Disney classics, Snow White and the Seven Dwarfs, meaning the Academy inexplicably opted to snub the likes of "Someday My Prince Will Come," "Whistle While You Work" and "Heigh-Ho," among others. Oh well. This, of course, will hardly be the first time I complain about the lack of love for songs that so obviously should have been recognized.

There isn't really a dud among the Academy's five selections this year. There is not, however, anything to much write home about either. This year is notable for being the one occasion on which the great George Gershwin (posthumously) received an Oscar nomination, but I wouldn't consider "They Can't Take That Away from Me" among his best work, despite Fred Astaire's fine, charming delivery. "That Old Feeling" is also a nice standard, covered by the likes of Doris Day and Judy Garland to Rod Stewart and Frank Sinatra, but it too is a bit tough to get enthusiastic about in the way you fall so head-over-heels for the likes of "Cheek to Cheek" and "The Way You Look Tonight." "Whispers in the Dark" and the winner, the Bing Crosby-performed "Sweet Leilani," are also nice and not much more. (Who knows, maybe everyone in the Academy wanted to get the heck out of Hollywood and move to Hawaii.)

Ultimately, my favorite here isn't the Gershwin track or the Oscar winner, but rather "Remember Me," from the extremely obscure Mr. Deeds-inspired Mr. Dodd Takes the Air. I can't speak to the quality of the picture - I've never seen it, though the few notices I've dug up online don't hold a lot of promise - but the strong vocal performance of Kenny Baker, coupled with its sweet, nostalgic lyrics (lots of talk about falling in love in cottages on hills), leave more of an impression on me than its competition.

The Oscar-winners ranked (thus far):

  1. "The Way You Look Tonight," Swing Time (1936)
  2. "Lullaby of Broadway," Gold Diggers of 1935 (1935)
  3. "Sweet Leilani," Waikiki Wedding (1937)
  4. "The Continental," The Gay Divorcee (1934)

1936 Best Original Song - When the Tunes Were Like Heaven

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WON AND SHOULD'VE WON: "The Way You Look Tonight," Swing Time

Poor "I've Got You Under My Skin." In 9 out of 10 years, I would probably bestow upon it my full support, particularly as its so warmly and heartrendingly sung by the underrated Virginia Bruce in Born to Dance. Alas, "The Way You Look Tonight" is just about the epitome of timelessness. It's been covered by just about everyone under the sun, from the obvious likes of Frank Sinatra and Tony Bennett, to the more atypical like '80s "Come on Eileen" crooners Dexys Midnight Runners and Carrie Fisher in Hannah and Her Sisters. Alas, I'm not sure it's ever gotten better than the lovely and charming Fred Astaire original.

Beyond those two juggernauts, you have another two very fine tracks in the Depression-era Bing Crosby classic "Pennies from Heaven" and the glowing "When Did You Leave Heaven," a sweet number performed by Guy Lombardo and His Royal Canadians for the completely forgotten, though marvelously titled musical Sing, Baby, Sing.

The other two tracks are a bit forgettable, unfortunately, though "A Melody from the Sky," which clocks in at a minute and 15 seconds, might well have the dubious honor of shortest-ever song nominated in this category - anyone know?

The Oscar-winners ranked (thus far):

  1. "The Way You Look Tonight," Swing Time (1936)
  2. "Lullaby of Broadway," Gold Diggers of 1935 (1935)
  3. "The Continental," The Gay Divorcee (1934)

1935 Best Original Song - Before Tony Bennett & Lady Gaga...

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WON: "Lullaby of Broadway," Gold Diggers of 1935

SHOULD'VE WON: "Cheek to Cheek," Top Hat

It's tough to really knock "Lullaby of Broadway" - it's an iconic tune, later put to splendid use in Broadway's 42nd Street, and the musical number it's featured in in Gold Diggers is pretty captivating filmmaking. "Lovely to Look At" is also a fine effort, a charmer elevated to great heights by Irene Dunne's stunning vocal delivery.

With that said, "Cheek to Cheek" undoubtedly should've triumphed here, without question. It is one of the all-time loveliest, most smile-inducing songs ("heaven, I'm in heaven..."), performed pitch-perfectly by Fred and Ginger. Frankly, it might well prove to be of the greatest tunes ever nominated in this category. We shall see.

The Oscar-winners ranked (thus far):

  1. "Lullaby of Broadway," Gold Diggers of 1935
  2. "The Continental," The Gay Divorcee

1934 Best Original Song - Bing vs. Fred & Ginger x2

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WON: "The Continental," The Gay Divorcee

SHOULD'VE WON: "Love in Bloom," She Loves Me Not

The Academy's inaugural Best Original Song showdown included a mere three nominees - a far cry from the 10 nominations, for instance, that would crowd this category a few years later, in 1938. Nominated were tracks from two Fred Astaire & Ginger Rogers vehicles and then one, "Love in Bloom," from an early Bing Crosby picture. I'm afraid to report none of the three songs are terribly memorable, though, to be fair, they sound pretty darn fine in comparison to the latest victor in this category, "Writing's on the Wall."

Both "Carioca" and "The Continental" are peppy and listenable-enough, but instantly forgettable as mere audio tracks. ("The Continental" prevailed, no doubt, on account of the glorious dance number it was included in.) Ultimately, I most like "Love in Bloom," which, while no "White Christmas" or "Pennies from Heaven," nonetheless showcases that legendary Crosby voice and is a rich, smooth listen.