What is it that makes the “Best Original Song” for a motion picture?
There appears to be a clear front runner in La La Land, nominated for the maximum two songs – “Audition” and “City of Stars.” Being a “movie musical” (yes, in quotations) the songs function in a very clear and direct way, allowing their effectiveness and RTDW to be more objectively quantifiable. With two nominations, however, it runs the risk of cancelling itself out.
Furthermore, historically the academy has chosen songs by famous pop artists, which gives an edge to Justin Timberlake and Sting. Although THIS year, with the massive pop appeal of Hamilton, the prize could go to Lin-Manuel Miranda. So it’s really up in the air.
There is always going to be a large amount of subjectivity when evaluating a creative endeavor. Ideally, the law of averages works it out so that the opinions of an educated sample reflect the opinions of the educated majority.
Remember, though, that while the nominations are made by Academy members who are songwriters and composers, the winners are decided by the membership as a whole. (So beware Lin Manuel Miranda – the deciding vote may come down to a tone-deaf cinematographer.)
I’ve always thought that songs in motion pictures are a difficult thing to judge, and precisely because of that they are almost always a difficult award to predict. Add to that the bizarre and ever-changing rules which govern the nominations of songs, which results in years where only two songs (???) are even nominated.
I thought it might be interesting to go through the nominations and see how to evaluate them on the principles of the Academy. According to the voting rules of the Academy: Continue reading The Anatomy of a Best Song