In Contention

Tag: (I Want To) Come Home

  • TECH SUPPORT: Best Original Song

    Jeff Bridges in Crazy HeartOver the last five months, Gerard has diligently canvassed and re-canvassed the various crafts categories here at In Contention.  The one category we have held back on all this time, as contenders have slowly fallen into place, was Best Original Song.  Today, it’s time to dig into the field.

    This has turned into something of a banner year for original songs in feature films.  We’ve had the great pleasure of bringing a number of hopefuls to you via our “listen to” posts, and look forward to continuing that into the new year.  But inevitably, frontrunners are bound to show up, and I think we can successfully narrow the field now.

    Before diving in, it’s worth reiterating the voting process in this category.  I’ll simply let the Academy’s rule book speak for itself:

    “An original song consists of words and music, both of which are original and written specifically for the motion picture. There must be a clearly audible, intelligible, substantive rendition (not necessarily visually presented) of both lyric and melody, used in the body of the motion picture or as the first music cue in the end credits.

    (more…)

  • Listen to Paul McCartney’s ‘(I Want to) Come Home’ from ‘Everybody’s Fine’

    Paul McCartneyPaul McCartney was in the thick of the Best Original Song race back in 2001 for his title track from Cameron Crowe’s “Vanilla Sky.” Unfortunately, the film was a pale reflection of Alejandro Amenabar’s “Abre Los Ojos” and didn’t register with voters enough to push that truly great song far enough.  Not that I’m arguing with Randy Newman finally winning his Oscar that year, mind you.

    Well this year, McCartney is back in the race with “(I Want to) Come Home,” yet another breezy nostalgic ditty that, once again, was written for a film that doesn’t really work: Kirk Jones’s “Everybody’s Fine.” But it’s a great song.  And I don’t think it’s a stretch to say it sounds like some undiscovered Beatles B-side, a warm and catchy tune that plays over the film’s closing credits (visually accompanied by the photos Robert De Niro’s widower character snaps on his journey around the country reconnecting with his children).

    One would think Paul McCartney’s presence in a race like this would be a no-brainer, but then again, Bruce Springsteen proved that logic wrong last year.  Have a listen to the track below and tell us what you think.

    [display_podcast]

  • Andrea Bocelli, Paul McCartney join the race for Best Original Song

    Andrea BocelliCatching up with Robert Zemeckis’s “A Christmas Carol” last night (which I absolutely adored), I noticed the film featured a tune called “God Bless Us Everyone” by Italian tenor Andrea Bocelli.  Might we have a new contender for Best Original Song?

    Each of Zemeckis’s prior performance-capture efforts included original songs — Josh Groban’s “Believe” from “The Polar Express” and Idina Menzel’s “A Hero Comes Home” from “Beowulf” — but I hadn’t yet heard of the track featured in the new film.  The song is what you might expect, a festive vocal power hymn, the first cue over the closing credits and, therefore, eligible.

    But not a likely nominee, I suppose.  “Believe” made the cut in 2004, but that was before the new voting process.  Where the track is situated will probably not prove intriguing enough to warrant serious consideration.  But nevertheless, it’s a new hopeful in a category that is already more competitive than normal.

    (more…)

  • Patterson Hood’s ‘Depression Era’ from ‘That Evening Sun’

    Patterson HoodI just finished Scott Teems’s “That Evening Sun,” which, much like Tom Ford’s “A Single Man,” is an impressive feature debut that nevertheless has some developmental issues that prevent a powerful narrative of catharsis from being as affecting as it could have been.

    There is, however, a fantastic original song in the film from Patterson Hood of the Georgia-based band Drive-By Truckers called “Depression Era” that bears consideration because, at least in my view, it might be the best original song I’ve heard in a film this year.  The only problem, of course, is that the tune plays over the final credits of the film, which all but guarantees that it won’t cut it for the music branch (which has increasingly show a preference for songs used within the context of a film in recent years).

    Of course, the film is quite small and will probably end up at the bottom of that screener stack Anne and I were discussing yesterday, but, alas, I feel compelled to mention it.

    (more…)