93rd Academy Awards: The saga of Best Original Song
Monday, April 5, 2021 at 9:00PM By Glenn Dunks
Quick, hum the melody of any of this year’s Best Original Song nominees (except “Husavik”). Hell, recite a single lyric from any of this year’s Best Original Song nominees (except “Husavik”).
Several years ago for The Film Experience, I ranked every winner of the original song category while hypothetically ranking each of that year’s nominees. We struck out with “Writing’s on the Wall”, which instantly became one of the worst winners of this beleaguered and controversial category. I unfortunately do not hold out much hope for this year’s crop of song contenders, only one of which deserves to win and only one of which would rank among the category’s finest winners. No need for suspense: that song is “Husavik”.
But we must and we shall look at this year’s nominees.
1. “Husavik” from Eurovision Song Contest: The Story of Fire Saga
Music and lyrics by Rickard Göransson, Fat Max Gsus & Savan Kotecha
All I needed was to get away
Just to realize that I was meant to stay
Highlights were scarce in this Netflix comedy about the Eurovision Song Content, but the nominated song “Husavik” was one of them. A wonderfully composed pop ballad that is full of nods to what makes Eurovision so great. Lyrical references to flocks of seagulls and whales may not be as nuts as Russian grannies baking bread on stage and then going to the disco (that’d be “Party for Everybody” by Buranovskiye Babushki in 2012), or a Ukrainian drag queen dressed as a silver Christmas tree (iconic Verka Serduchka in 2007 singing “Dancing Lasha Tumbai”), but it is smartly crafted enough that it sounds like a song that’d be a hit with the real public voters of Europe (and Australia, don't forget Australia!).
Does it sound a bit like that one song from The Greatest Showman? Yeah, actually. But “Husavik” is far and away the only song nominated this year that earned a nomination and the win. I suspect the film’s erratic quality and just general oddness may mean voters look elsewhere for a ‘worthier’ winner, but I think we all know where the statue should be going.
And because it is literally the only one we can show video for...
2. “Fight For You” from Judas and the Black Messiah
Music by Dernst “D’Mile” Emile II and H.E.R., lyrics by H.E.R. and Tiara Thomas
Their guns don't play fair
All we got is a prayer
One of the best things about this song from Best Picture nominee Judas and the Black Messiah is that, when you sit and listen to it outside of the film, it comes as a surprise. Not necessarily because co-writer and performer H.E.R. isn’t a great musician, but because it has far more groove than I would have expected from an end credits song with the extremely uninspired title of “Fight For You”. In a line-up deeply in need of excitement, I guess that’s gotta count for something.
Like the other three songs below, however, nothing about “Fight For You” really sings out as key to Judas’ success as a film. The singing of H.E.R. (real name Gabriella Sarmiento Wilson) is lovely, full of smoky tones that floats over the drums and vibrant funk bassline. Its lyrics are strong and speak to the systemic and the specific fights for racism that echoes the film it’s housed in. But is “Fight For You” too… polite? Maybe. Given it is attached to Judas and Black Messiah, one might wish for more. There’s nothing wrong with “Fight For You” as a work of music, but I truly would not have believed that Judas even had an original song without this nomination as proof.
3. “Speak Now” from One Night in Miami…
Music and lyrics Sam Ashworth & Leslie Odom Jr.
Brothers and sisters
Listen, listen, listen
I swear we'll never find a way to where we're going, all alone
Don't take your eyes off the road
I was much cooler on Regina King’s One Night in Miami than most it would seem, thinking its three nominations was more than adequate reward. Alongside its acting and writing nods, this nomination for Sam Ashworth and Leslie Odom Jr.’s “Speak Now” is rather emblematic of the film in general. Just as the film found the relevant way to express the thoughts and feelings of its characters in the 1960s into a film made in 2020, so too does “Speak Now” strike some really wonderful lyrical notes, finding poignant parallels between then and now; the late addition of the organ elevates the grandeur slightly. But is that enough?
Again, it’s a nice song that just happens to have found itself playing over the end credits of a popular movie. And as end credits songs go I don’t feel it reaches the heights of even Cynthia Erivo’s “Stand Up” from Harriet let alone winners like, say, "Glory" from Selma or "Into the West" from Return of the King. If it wins the Oscar, which I suspect it will, then perhaps its stature will rise to something of a contemporary blues standard. But if it doesn’t win then I doubt we’ll be able to remember its name by this time next year.
4. “Io sí (Seen)” from The Life Ahead
Music by Diane Warren, lyrics by Diane Warren and Laura Pausini
When you think no love can ever heal you
Mine will, mine will
If you had told me in 2010 that Burlesque’s Oscar legacy would be a long-awaited Oscar win for Diane Warren with a soaring power ballad (“You Haven’t Seen the Last of Me”) performed by Cher, I would have believed you. I mean, come on. That narrative wrote itself. Instead, Burlesque’s Oscar legacy is a music branch that didn’t even nominate that song spending the next decade trying desperately to make it up to Diane Warren. How else to explain the litany of nominations in the years since for some of the worst songs ever nominated for an Oscar. And trust me, I know that is saying a lot, but it’s true. “I’m Standing With You” from Breakthrough? “I’ll Fight” from RBG? “Stand Up for Something” from Marshall? All of which have titles that very much fit into 2020’s roster, and all terrible.
What works in The Life Ahead’s favor here, I suppose, is that “Io sí (Seen)” is sung (over the end credits, natch) in Italian. What doesn’t work in its favor is that if you have the subtitles on as I did you will be able to read the absolute garbage lyrics that this song trots out. American Idol would think these lyrics were too much for a winner’s song they’re that bad. Unlike others, I don’t think “Io sí (Seen)” is the magic bullet that’ll finally win Diane Warren her coveted Oscar, but if it does and it means maybe she can go back to writing for musicals like Burlesque or even Beyond the Lights then I guess that’s something to be happy about?
5. “Hear My Voice” from The Trial of the Chicago 7
Music by Daniel Pemberton, lyrics by Celeste Waite and Daniel Pemberton
Hear my words
Hear my cries
Let me see a change through these eyes
No. Absolutely not. A song with only one verse, barely a chorus, and truly stomach-churning lyrics written in syrup and powdered sugar. What on earth this has to do with The Trial of the Chicago 7, I couldn’t tell you. Absolute dirge. It’s barely a song. I know a lot of people have real thoughts about the Best Original Song category and its place in the future of the Academy, but this nomination should make the music branch truly ashamed. Go to the naughty corner, now!
Preferred winner: “Husavik” from Eurovision Song Contest: The Story of Fire Saga
Predicted winner: “Speak Out” from One Night in Miami…
Sure, whatever: “Io sí (Seen)” from The Life Ahead
OTHER CATEGORY REVIEWS
- Adapted Screenplay
- Cinematography
- Costume Design
- Makeup and Hair
- Original Song
- Sound
- Visual Effects
- Documentary Feature
- Shorts, Animated
- Shorts, Doc
- Shorts, Live Action
plus
- Um... who is winning best actress?
- Double acting nomination complications
- How often does Best Actor go to a non-Best Picture nominated film?
- New Oscar records
- History of Posthumous Oscars
- Oldest Best Actor Nominees of all time (two are from this year!)
Reader Comments (32)
Husavik would be a sublime choice.
The rest is trash.
That's all.
SO sick of the "Writing's on the Wall" vitriol continuing all these years later! The instrumentation in particular induces chills. Check out this a cappella performance and tell me you still hate the song, I dare you: https://www.youtube.com/watch?v=XNKO4oIGRzM.
This year's nominees aren't bad. I really like (and could easily hum, thankyouverymuch) "Speak Now" and "Fight For You."
Please welcome academy award winner, Laura Pausini.
Thank you, Glenn, for your standards, calling out mediocrity (and worse), and fighting the good fight. I also agree re One Night in Miami. Engaging but flawed.
To my ears, Husavik is atrocious.
Spot on. This award is a real dud this year.
Sorry, I can't even do that with "Husavik,” although...
...I do remember melodies and lyrics from "Lion of Love" and "Song-a-Long," because every time Dan Stevens appeared was a highlight of that movie.
Well, she is the Glenn Close (or Roger Deakins until BR2049) of this category.
Boy that bubble of online Oscar progs are really trying to make "Husavik" happen. And it's overkill.
Personally, I'm drawn to "Speak Now". The melody is subtle but strong. It's the one of these songs that I listen to on a regular basis.
I hope it wins, but a "Fight for You" win wouldn't upset me, only because it's sound is so atypical for Oscar original songs.
GO HUSAVIK! (Ja-ja ding-dong is still the better song)
I so wish "Turntables" or "Make It Work" were here instead of "Hear My Voice" .
That said , of the nominees "Husavik" is the most deserving is it has genuine passion, is actually part of the movie and moves forward the story.
I think Diane Warren finally wins on a rote, uninspired nomination.
I like Husavik fine and even though it’s the best of the nominees, I still think it’d make for a bad winner.
Working Stiff with Glenn a winner joining Deakins this year, how long until Warren joins them do you predict?
“Husavik” is the only Best Original Song nominee I’ve (often) had stuck in my head since...the early 90s?
I really wish “Make it Work” had been nominated from Jingle Jangle. I’m sick of end credit songs being nominated and very much prefer songs that actually feel as if they are a part of the film narrative. Even if you didn’t like Jingle Jangle(I loved it) the songs were mostly good and sometimes great.
It's still stronger than last year's line-up which has to count as one of the worst ever. I think this year's group is decent overall, even if sadly none of them was a hit. What a wasted opportunity for Billie Eilish to take it for "No Time to Die", though.
"Husavik" is not only an awesome song on its own... it's a plot device that had been constructing through the whole film to deliver a climax that actually ties most knots at the same time. It should win any given year, because it is essential for the film to make sense and, despite some obvious flaws, the film is still one of the most rewatchable and fun of the year, and maybe, the one with the hugest heart... Will Ferrell is a bit hit or miss through the film, but it should have been nominated for Costume and Make Up, along the Song nomination. And Dan Stevens probably should have been in the conversation for Supporting Actor, and Rachel McAdams was actually better than some Golden Globe Comedy nominees... (probable penalty for not providing the voice, but it is justified in the same film, that they would use a professional singer for that).
My Comedy/Musical 2020 nominees would have been...
Borat Subsequent Moviefilm (winner)
David Byrne's American Utopia
Eurovision Song Contest: The Story of Fire Saga
Palm Springs
Valley Girl
come on, ampas members - it's so obvious: vote for the one song that's integral to the plot
[and while you're at it, write in a nomination for a true supporting actor - dan stephens]
Time for a non-english speaking song.
Best Song is almost always the worst category for the Oscars, I wouldn't mind if they just chucked the category altogether. But "Fight for You" has a cool-ass funlky 70's groove to it so I would go with that.
Do people not like Io sì from The Life Ahead? I think it's a pretty and plangent song and strong enough to be a worth winner for Diane Warren should it happen. It won the Globe and surely has some momentum?
Brian -- me too. I wonder if they chucked their previous "bake off" ceremony where they watched the film's in context. That really worked AGAINST the end credits song which is proper as end credits are barely part of a movie. Unless it's an end credits that's sung/acted through... like that great moment in Paddington 2.
Don't want to jinx it...but I suspect this may actually be Warren's year. ONE NIGHT IN MIAMI, which wasn't exactly otherwise embraced, feels like the softest of front-runners.
LAURA GANADORA.
Odom's vocals in Speak Now are great and elevate the song. First year I really like the five in a long time.
Queen Bee from Emma should have been here for sure.
@ Oracle
If Close wins this year and Warren doesn’t, I predict that she’ll join Deakins and Close after Greg P. Russell’s first win, which may also be a few years away after his last rescinded nomination (would have been #17).
I think Husavik should and will win. Sure Fire Saga was a little uneven, but it was the escape we needed at the time and this lovely song was the little perfect cherry on the top of the wonky Sunday.
Mauro, there have been winners not in the english language. The one nominated this year is terrible.year.
I wish the JINGLE JANGLE song had been nominated as well.
I found Io Si (and the lyrics, especially) deeply moving, way more than the film itself. Oh, well...
Both "Fight for You" and "Speak Now" feel like they're holding back. The former could have leaned harder into the period flavor it touches on (think "Theme from Shaft") while "Speak Now" never quite takes off like "Glory" from Selma or "Stand Up" from Harriet (the song that should have won last year).
Thank god for "Husavik" for saving this category this year from total mediocrity. I did hear that the "bake off" clips are still on the Oscar's streaming portal so maybe that will help it. If anything the performance of it will almost surely be a highlight of this year's show, I can picture Will Ferrell doing a take off on the whole "Bradley Cooper leads Lady Gaga to the stage to sing Shallow" moment from a couple years ago.
Side note: I'm not a fan of "Writings on the Wall" either (and I hate that it kind of taints the win for "Skyfall" in retrospect), but seek out a female cover of it and give it a listen, it might surprise you.
They're all awful