1968 Best Original Song - Hitler Was Robbed!

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WON AND SHOULD'VE WON: "The Windmills of Your Mind," The Thomas Crown Affair

I have to give the Academy serious kudos for awarding Mel Brooks the Best Original Screenplay Oscar in 1968 for his brilliant The Producers - I'm awfully skeptical such would happen today, though he might well at least muster the nomination. I also love that Gene Wilder garnered a nomination, even if the nod in Best Supporting Actor makes close to no sense.

What would've made '68 all the more fantastic, however, was if Brooks' spectacularly funny "Springtime for Hitler" managed to pop up in Best Original Song. If "Blame Canada" from South Park: Bigger, Longer and Uncut could garner Oscar love, I certainly don't see why "Hitler" couldn't have done the same. Oh well. What we're ultimately left with in '68 Best Original Song is a bit of a mixed bag, with a terrific winner and some rather unremarkable competition.

The Academy's selection, "The Windmills of Your Mind," from the marvelous Steve McQueen-Faye Dunaway starrer The Thomas Crown Affair, is a top-notch pick, beautifully composed by Michel Legrand, Alan Bergman and Marilyn Bergman and delivered in an idiosyncratic vocal performance by Noel Harrison. The tune has a bit more edge to it than the average Bond theme, for instance, and it's lyrically far more interesting. Notable covers included Dusty Springfield and, of course, Babs.

Speaking of Streisand, '68 of course marked the year she took the big screen by storm with her Oscar-winning turn as Fanny Brice in William Wyler's Funny Girl. The picture is full of terrific showtunes, including "People," "Don't Rain on My Parade" and "My Man." As has been the case with so many stage-to-screen adaptations, an original song was composed specifically for the picture and, as is usually (if not always) the case, it doesn't quite stack up to the rest of the catalogue. "Funny Girl," while performed splendidly by Streisand, just isn't terribly memorable.

Likewise, "For Love of Ivy," composed by Quincy Jones for the middling Sidney Poitier vehicle of the same name, is nicely performed by the great Jazz pianist and vocalist Shirley Horn but too fleeting to leave a real impact. Julie Andrews is in the mix too, for "Star!" (from the eponymous picture), and her nominated track is just as grating and overblown as the film itself. Dick Van Dyke rounds out the line-up with the title track from Chitty Chitty Bang Bang and it's at least more fun than his former Mary Poppins co-star's selection but still, it's no "Windmills of Your Mind." Or "Springtime for Hitler," of course.

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. "High Noon (Do Not Forsake Me, On My Darlin')," High Noon (1952)
  11. "Secret Love," Calamity Jane (1953)
  12. "White Christmas," Holiday Inn (1942)
  13. "Moon River," Breakfast at Tiffany's (1961)
  14. "When You Wish Upon a Star," Pinocchio (1940)
  15. "Thanks for the Memory," The Big Broadcast of 1938 (1938)
  16. "Lullaby of Broadway," Gold Diggers of 1935 (1935)
  17. "Zip-a-Dee-Doo-Dah," Song of the South (1947)
  18. "Days of Wine and Roses," Days of Wine and Roses (1962)
  19. "All the Way," The Joker Is Wild (1957)
  20. "It Might As Well Be Spring," State Fair (1945)
  21. "The Last Time I Saw Paris," Lady Be Good (1941)
  22. "In the Cool, Cool, Cool of the Evening," Here Comes the Groom (1951)
  23. "Love Is a Many-Splendored Thing," Love Is a Many-Splendored Thing (1955)
  24. "Born Free," Born Free (1966)
  25. "Never on Sunday," Never on Sunday (1960)
  26. "Three Coins in the Fountain," Three Coins in the Fountain (1954)
  27. "Chim Chim Cher-ee," Mary Poppins (1964)
  28. "Call Me Irresponsible," Papa's Delicate Condition (1963)
  29. "Swinging on a Star," Going My Way (1944)
  30. "Gigi," Gigi (1958)
  31. "The Continental," The Gay Divorcee (1934)
  32. "Sweet Leilani," Waikiki Wedding (1937)
  33. "Buttons and Bows," The Paleface (1948)
  34. "Talk to the Animals," Doctor Dolittle (1967)
  35. "The Shadow of Your Smile," The Sandpiper (1965)

1967 Best Original Song - Burt Bacharach vs. Baloo the Bear: The Ultimate Showdown

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WON: "Talk to the Animals," Doctor Dolittle

SHOULD'VE WON: "The Look of Love," Casino Royale

1967 should have marked one of the all-time great line-ups for the Best Picture Oscar. It includes brilliant and iconic motion pictures like The Graduate and Bonnie and Clyde, both right up there among the finest films of the decade, if not the century. That year's winner, In the Heat of the Night, is also a terrific, superbly acted piece of cinema and while not everyone is a fan of this one, I still find (the admittedly somewhat dated) Guess Who's Coming to Dinner immensely entertaining. If the Academy had rounded out this category with a film like Two for the Road, Cool Hand Luke, In Cold Blood or The Whisperers, among other fine films from '67, this really would have been one of the Academy's most impressive collection of pictures vying for the top prize.

Alas, that fifth slot did not go to any of those aforementioned films. It went, inexplicably, to Doctor Dolittle, the dull and charmless Rex Harrison vehicle that didn't even have the hearts of audiences or critics back in the day, yet managed to land a slew of Oscar nominations on account of an aggressive marketing campaign by 20th Century Fox.

Fox's success extended to the Best Original Song category in '67, where the lifeless "Talk to the Animals," composed by the usually terrific Leslie Bricusse (who later did marvelous work on films including Willy Wonka and the Chocolate Factory and Victor/Victoria), claimed victory. Much like fellow winners "Gigi" and "Call Me Irresponsible," it's a tune more spoken than sung by the leading man, except "Gigi" was at least featured in a sumptuously photographed scene and "Call Me Irresponsible" had some nice lyrics that were just dampened by Jackie Gleason's lame delivery. This is a lackluster song, showcased in a grating film and performed completely unremarkably.

All the more frustrating is the winner's competition this year was actually, for the most part, quite terrific.

"The Look of Love," yet another Burt Bacharach-Hal David triumph (after "Alfie" the year prior), is performed dazzlingly by the incomparable Dusty Springfield. And "The Bare Necessities" is of course among the most iconic tunes of the entire Disney catalogue. The fight for this prize clearly should have been an all-out barn burner between these two. (Ultimately, I do have a tad more enthusiasm for the former track.)

The other two nominees here are just OK. "The Eyes of Love," from Robert Wagner's oddball golf (!) drama Banning, marks one of Quincy Jones' first Oscar nods (he was nominated twice this year, also for In Cold Blood in Best Original Score), but, by Jones standards at least, is surprisingly by-the-numbers stuff, sounding like something Frank Sinatra may have rejected. "Thoroughly Modern Millie," from the eponymous Julie Andrews picture, is a curiously low-energy (like the film itself) piece from the usually terrific Sammy Cahn-Jimmy Van Heusen team. It was later adapted to much greater success on Broadway, headlined by Sutton Foster.

Egregiously snubbed this year, in spite of an Oscar nom for John Williams' fine score for the film, was "(Theme from) Valley of the Dolls," a gorgeous ballad for Dionne Warwick, composed by the great André Previn. Also ignored, albeit not quite on the same level as that tune, was Nancy Sinatra's "You Only Live Twice," from the Bond flick of the same name, which, while perhaps not quite up there with the likes of "Goldfinger" or "Nobody Does It Better," most certainly would have been a deserving Oscar nominee this year.

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. "High Noon (Do Not Forsake Me, On My Darlin')," High Noon (1952)
  10. "Secret Love," Calamity Jane (1953)
  11. "White Christmas," Holiday Inn (1942)
  12. "Moon River," Breakfast at Tiffany's (1961)
  13. "When You Wish Upon a Star," Pinocchio (1940)
  14. "Thanks for the Memory," The Big Broadcast of 1938 (1938)
  15. "Lullaby of Broadway," Gold Diggers of 1935 (1935)
  16. "Zip-a-Dee-Doo-Dah," Song of the South (1947)
  17. "Days of Wine and Roses," Days of Wine and Roses (1962)
  18. "All the Way," The Joker Is Wild (1957)
  19. "It Might As Well Be Spring," State Fair (1945)
  20. "The Last Time I Saw Paris," Lady Be Good (1941)
  21. "In the Cool, Cool, Cool of the Evening," Here Comes the Groom (1951)
  22. "Love Is a Many-Splendored Thing," Love Is a Many-Splendored Thing (1955)
  23. "Born Free," Born Free (1966)
  24. "Never on Sunday," Never on Sunday (1960)
  25. "Three Coins in the Fountain," Three Coins in the Fountain (1954)
  26. "Chim Chim Cher-ee," Mary Poppins (1964)
  27. "Call Me Irresponsible," Papa's Delicate Condition (1963)
  28. "Swinging on a Star," Going My Way (1944)
  29. "Gigi," Gigi (1958)
  30. "The Continental," The Gay Divorcee (1934)
  31. "Sweet Leilani," Waikiki Wedding (1937)
  32. "Buttons and Bows," The Paleface (1948)
  33. "Talk to the Animals," Doctor Dolittle (1967)
  34. "The Shadow of Your Smile," The Sandpiper (1965)

1966 Best Original Song - Dionne Warwick Did It Better

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WON: "Born Free," Born Free

SHOULD'VE WON: "Alfie," Alfie

The legendary Dionne Warwick's 1967 rendition of "Alfie" is among my all-time favorite records. Warwick had such a sterling way with Burt Bacharach and Hal David - she so beautifully captured the spirit of their music and lyrics, and "Alfie" found the duo very much operating at the top of their game. "Alfie," "Anyone Who Had a Heart," "Don't Make Me Over" - all unimpeachable classics, a dazzling teaming of just the right vocalist and composers.

Alas, Warwick's was not the original "Alfie," included in the '66 Michael Caine film - that honor went to Cilla Black, in the UK release, and Cher, on the US side. I'm afraid neither Black nor Cher quite capture the magic Warwick did the following year - Black's vocal is something of an acquired taste (I have a tough time loving it) and Cher sounds quite splendid, but the production on her version, conducted by then-husband Sonny Bono, is a loud and distracting Phil Spector imitation that ultimately overwhelms her fine vocal. The Warwick cover has a romantic nuance and subtlety that is sorely missing in the previous versions.

With that said, even taking into account my criticisms of the Black/Cher originals, I still rather handily give "Alfie" the prize here. The Bacharach/David music and lyrics can't be beat and it's a rather unremarkable year otherwise.

John Barry and Don Black, the team behind several fine James Bond themes, prevailed here for "Born Free," from the picture of the same name. The tune wants to be a soaring, inspirational experience, and with a boffo vocal performance by Matt Monro, it comes reasonably close, but ultimately I think is more cheesy than anything else. Still, there have been far worse winners here.

I enjoy The Seekers' "Georgy Girl," from the eponymous film that put Lynn Redgrave on the map as leading lady material. Much like "Town Without Pity" reeked (in a good way, of course) of early '60s pop-rock, "Georgy Girl," more than any other song that has played thus far, very much brings to mind the more folksy pop-rock from later in the decade.

Less notable are "My Wishing Doll," performed by Julie Andrews for a hot second in George Roy Hill's overblown Hawaii, and "A Time for Love," performed by Jackie Ward (dubbing for Janet Leigh) in the massive box office and critical disaster An American Dream - the latter is pretty much the epitome of elevator music.

As for the snubbed this year, an instrumental version of "Strangers in the Night," later performed to immense success by Frank Sinatra, was actually first showcased in the obscure James Garner comedy A Man Could Get Killed, winning the Golden Globe that year for Best Original Song. I think it's very nice but surely not as memorable without the Sinatra vocal.

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. "High Noon (Do Not Forsake Me, On My Darlin')," High Noon (1952)
  10. "Secret Love," Calamity Jane (1953)
  11. "White Christmas," Holiday Inn (1942)
  12. "Moon River," Breakfast at Tiffany's (1961)
  13. "When You Wish Upon a Star," Pinocchio (1940)
  14. "Thanks for the Memory," The Big Broadcast of 1938 (1938)
  15. "Lullaby of Broadway," Gold Diggers of 1935 (1935)
  16. "Zip-a-Dee-Doo-Dah," Song of the South (1947)
  17. "Days of Wine and Roses," Days of Wine and Roses (1962)
  18. "All the Way," The Joker Is Wild (1957)
  19. "It Might As Well Be Spring," State Fair (1945)
  20. "The Last Time I Saw Paris," Lady Be Good (1941)
  21. "In the Cool, Cool, Cool of the Evening," Here Comes the Groom (1951)
  22. "Love Is a Many-Splendored Thing," Love Is a Many-Splendored Thing (1955)
  23. "Born Free," Born Free (1966)
  24. "Never on Sunday," Never on Sunday (1960)
  25. "Three Coins in the Fountain," Three Coins in the Fountain (1954)
  26. "Chim Chim Cher-ee," Mary Poppins (1964)
  27. "Call Me Irresponsible," Papa's Delicate Condition (1963)
  28. "Swinging on a Star," Going My Way (1944)
  29. "Gigi," Gigi (1958)
  30. "The Continental," The Gay Divorcee (1934)
  31. "Sweet Leilani," Waikiki Wedding (1937)
  32. "Buttons and Bows," The Paleface (1948)
  33. "The Shadow of Your Smile," The Sandpiper (1965)

1965 Best Original Song - Nat King Cole's Swan Song

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WON: "The Shadow of Your Smile," The Sandpiper

SHOULD'VE WON: "The Ballad of Cat Ballou," Cat Ballou

On February 15, 1965, at the mere age of 45, Nat King Cole, unimpeachably one of the all-time great vocalists and jazz pianists, died of lung cancer. Cole tunes were nominated on three occasions at the Oscars - in 1950 (for the winning "Mona Lisa"), in 1953 (for "My Flaming Heart," which I argued should have won that year) and finally posthumously, in 1965, for Cat Ballou's "The Ballad of Cat Ballou."

"The Ballad of Cat Ballou" is not quite in the same league as the other two Oscar-recognized Cole songs - it's a giddy, enjoyable tune for sure, but a tad silly and isn't the greatest showcase for Cole's legendary voice - but nonetheless, on account of some truly lackluster competition, it is rather easily my pick for the win in '65.

In fact, the winner in '65, "The Shadow of Your Smile," from the atrocious Elizabeth Taylor-Richard Burton yarn The Sandpiper, is the worst Oscar-winner in this category I've encountered thus far. The track was later covered to slightly better effect by a wide array of artists, including Barbra Streisand, Frank Sinatra and, most notably, Tony Bennett, whose version won the Song of the Year Grammy in '66 (inexplicably, over The Beatles' "Yesterday"). The film's version, however, is a real snooze - it's tough to even pay attention to the lyrics, as the vocals and production are so uninspired.

Henry Mancini's "The Sweetheart Tree," performed by Natalie Wood in Blake Edwards' egregiously overlong The Great Race, features some reliably moving Mancini instrumentals but is otherwise pretty fleeting and forgettable stuff. Johnny Mathis later did a cover that was a bit more interesting. As for "What's New, Pussycat," the first (and far from last) Burt Bacharach-Hal David tune to make an appearance in Best Original Song, I've long considered it among my least favorites from the Bacharach-David catalogue. (I do, however, look greatly forward to "Alfie" next year.)

My runner-up here would have to be "I Will Wait for You," from the truly glorious The Umbrellas of Cherbourg, though it's admittedly more on account of Michel Legrand's lovely music than the rather so-so vocals.

In terms of tunes that were snubbed this year, I suppose I would have nominated "Thunderball" (from the Bond flick of the same name), even though I've never really counted it among my favorites from the series. It's just such a ho-hum year for Original 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. "High Noon (Do Not Forsake Me, On My Darlin')," High Noon (1952)
  10. "Secret Love," Calamity Jane (1953)
  11. "White Christmas," Holiday Inn (1942)
  12. "Moon River," Breakfast at Tiffany's (1961)
  13. "When You Wish Upon a Star," Pinocchio (1940)
  14. "Thanks for the Memory," The Big Broadcast of 1938 (1938)
  15. "Lullaby of Broadway," Gold Diggers of 1935 (1935)
  16. "Zip-a-Dee-Doo-Dah," Song of the South (1947)
  17. "Days of Wine and Roses," Days of Wine and Roses (1962)
  18. "All the Way," The Joker Is Wild (1957)
  19. "It Might As Well Be Spring," State Fair (1945)
  20. "The Last Time I Saw Paris," Lady Be Good (1941)
  21. "In the Cool, Cool, Cool of the Evening," Here Comes the Groom (1951)
  22. "Love Is a Many-Splendored Thing," Love Is a Many-Splendored Thing (1955)
  23. "Never on Sunday," Never on Sunday (1960)
  24. "Three Coins in the Fountain," Three Coins in the Fountain (1954)
  25. "Chim Chim Cher-ee," Mary Poppins (1964)
  26. "Call Me Irresponsible," Papa's Delicate Condition (1963)
  27. "Swinging on a Star," Going My Way (1944)
  28. "Gigi," Gigi (1958)
  29. "The Continental," The Gay Divorcee (1934)
  30. "Sweet Leilani," Waikiki Wedding (1937)
  31. "Buttons and Bows," The Paleface (1948)
  32. "The Shadow of Your Smile," The Sandpiper (1965)

1964 Best Original Song - When the Oscars Snubbed Bond and the Beatles

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WON: "Chim Chim Cher-ee," Mary Poppins

SHOULD'VE WON: "Dear Heart," Dear Heart

1964 is among the most aggravating years at the Oscars - it's the one where the dull-as-dishwater My Fair Lady crushed the brilliant likes of Becket and Dr. Strangelove just about across-the-board. Rex Harrison defeated Richard Burton, Peter O'Toole and Peter Sellers, while George Cukor outpaced Peter Glenville and Stanley Kubrick - the bottom line being I'm not the happiest camper when it comes to diving into this year.

The state of Best Original Song in '64 is not much more uplifting - in fact, it's kind of worse, not because the Academy's nominees are bad (they're actually decent, for the most part), but because of what was omitted. Somehow, the Oscars managed to ignore both Shirley Bassey's incredible theme to Goldfinger - arguably the greatest Bond song of all - and every wonderful track from The Beatles' A Hard Day's Night. Imagine if this category were instead...

"Goldfinger," Goldfinger
"Can't Buy Me Love," A Hard Day's Night
"A Hard Day's Night," A Hard Day's Night
"And I Love Her," A Hard Day's Night
"If I Fell," A Hard Day's Night

That would've pretty much been the greatest Best Original Song line-up ever. Alas, in spite of Goldfinger winning the Best Sound Effects category this year, and A Hard Day's Night garnering noms in Best Original Screenplay and Best Original Score (losing to the lackluster Father Goose and My Fair Lady, respectively), there was inexplicably no love in this particular category.

Instead, what we're left with is a respectable but largely unexciting batch of nominees.

"Chim Chim Cher-ee," performed by the great Dick Van Dyke in Disney's Mary Poppins, is, I suppose, a memorable tune, but is it really even among the best songs from the film? I would count "A Spoonful of Sugar," "I Love to Laugh," "A Man Has Dreams," "Let's Go Fly a Kite" and especially "Supercalifragilisticexpialidocious" as quite superior to the Academy's favorite. Perhaps Disney randomly went all-in with an Oscar campaign for this one song at the time? It just strikes me as rather odd.

"Hush...Hush, Sweet Charlotte," from the marvelous Bette Davis-Olivia De Havilland horror-drama of the same name, and "Where Love Has Gone," from the not-so-marvelous Bette Davis-Susan Hayward melodrama of the same name, are capably performed by Al Martino and Jack Jones, respectively, albeit a bit on the mushy side. Soon after the film's release, Patti Page did a cover of "Hush...Hush" that has a bit more life to it than the Martino original.

My two favorites of the group are "Dear Heart," a gorgeous Henry Mancini piece, beautifully delivered by Andy Williams, and "My Kind of Town," Frank Sinatra's memorable ode to the City of Chicago. The Sinatra tune is nicely staged in Robin and the 7 Hoods and, over the years, emerged one of his reliable standbys in concert, but my heart is definitely with the Williams record here, particularly given it's showcased in filmmaker Delbert Mann's picture of the same name, which I absolutely adore (it features one of Geraldine Page's finest performances and has a lot of the same nuanced romance as Mann's Oscar-winning Marty).

With that said, "Goldfinger" or "A Hard Day's Night" would've triumphed here for me rather handily, had the Academy bothered to nominate them.

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. "High Noon (Do Not Forsake Me, On My Darlin')," High Noon (1952)
  10. "Secret Love," Calamity Jane (1953)
  11. "White Christmas," Holiday Inn (1942)
  12. "Moon River," Breakfast at Tiffany's (1961)
  13. "When You Wish Upon a Star," Pinocchio (1940)
  14. "Thanks for the Memory," The Big Broadcast of 1938 (1938)
  15. "Lullaby of Broadway," Gold Diggers of 1935 (1935)
  16. "Zip-a-Dee-Doo-Dah," Song of the South (1947)
  17. "Days of Wine and Roses," Days of Wine and Roses (1962)
  18. "All the Way," The Joker Is Wild (1957)
  19. "It Might As Well Be Spring," State Fair (1945)
  20. "The Last Time I Saw Paris," Lady Be Good (1941)
  21. "In the Cool, Cool, Cool of the Evening," Here Comes the Groom (1951)
  22. "Love Is a Many-Splendored Thing," Love Is a Many-Splendored Thing (1955)
  23. "Never on Sunday," Never on Sunday (1960)
  24. "Three Coins in the Fountain," Three Coins in the Fountain (1954)
  25. "Chim Chim Cher-ee," Mary Poppins (1964)
  26. "Call Me Irresponsible," Papa's Delicate Condition (1963)
  27. "Swinging on a Star," Going My Way (1944)
  28. "Gigi," Gigi (1958)
  29. "The Continental," The Gay Divorcee (1934)
  30. "Sweet Leilani," Waikiki Wedding (1937)
  31. "Buttons and Bows," The Paleface (1948)