The Problem with End Credit Songs at the Oscars
When discussing the most talked-about Oscar categories like Best Actress, Actor, Director, and Picture, it is important to also address the issue of awarding end credit songs the title of Best Original Song. This practice has come under scrutiny as it has strayed from its original intention of celebrating clever, catchy tunes that are an integral part of a film. The focus has shifted to including songs that debut during the end credits, a move that seems more like a ploy to help aspiring EGOT winners. This shift is a result of the influence of the award show industrial complex, where rules have been expanded to accommodate such entries. While it may come as a surprise for viewers leaving the theater, it raises questions about the integrity of the award itself.
The Best Original Song category should honor songs that are truly original and featured prominently in the movie. These songs should not just be an add-on during the credits but should be woven into the narrative, reflecting the themes and emotions of the characters. A song should be able to stand on its own and be a memorable element of the film. For example, iconic songs like “Somewhere Over the Rainbow” in The Wizard of Oz or “Lose Yourself” in 8 Mile are powerful examples of songs that are integral to the storytelling.
What Qualifies as a Best Original Song?
A best original song should be more than just a standalone piece. It could be a stylistic theme song with a recurring musical motif that is woven throughout the score. It could also be a song that plays during a key scene, reflecting the inner thoughts of a character. In these cases, the song enhances the overall cinematic experience and adds depth to the storytelling. While it is acceptable for a song to play during the beginning or end credits, it should not be considered for an award if it is disconnected from the main narrative.
Looking at the current nominations for Best Original Song, we see a diverse range of songs that showcase different styles and uses. For instance, “I’m Just Ken” from Barbie, sung by Ryan Gosling, serves as a character-driven power ballad, while Billie Eilish’s “What Was I Made For” functions as a theme song, playing during significant moments in the film. “Wahzhazhe (A Song for My People)” by the Osage Tribal Singers in Killers of the Flower Moon captures the spirit of the Osage people in its final scene before the credits roll. On the other hand, “The Fire Inside” by Diane Warren in Flamin’ Hot adds depth to the movie by playing during the text epilogue.
In conclusion, the Best Original Song category should prioritize songs that are not just tacked onto the end credits but are integral to the storytelling and emotional impact of the film. By redefining the criteria for what qualifies as a Best Original Song, we can ensure that the award retains its prestige and significance in the film industry.