Henry Fonda, actor (1905-82)
Grammy: Best Spoken Word Album, “Great Documents” (1977)
Oscar: Best Actor, “On Golden Pond” (1981)
Tony: Best Actor, “Mister Roberts” (1948); Best Actor, “Clarence Darrow” (1975)
Oscar Hammerstein II, lyricist and producer (1895-1960)
Grammy: Best Original Cast Album, “The Sound of Music” (1960)
Oscar: Best Original Song, “The Last Time I Saw Paris” from “Lady Be Good” (1941); “It Might As Well Be Spring” from “State Fair” (1945)
Tony: Three awards for “South Pacific” (1950); Best Musical, “The King and I” (1952); Best Musical, “The Sound of Music” (1960)
Elton John
Grammy: Best Pop Performance by a Duo or Group, “That’s What Friends Are For” (1986); Best Instrumental Composition, “Basque” (1991); Best Male Pop Vocal Performance, “Can You Feel the Love Tonight” (1994); Best Male Pop Vocal Performance, “Candle in the Wind” (1997); Best Show Album, “Aida” (2000)
Oscar: Best Original Son, “Can You Feel the Love Tonight” from “The Lion King” (1994)
Tony: Best Score, “Aida” (2000)
John Legend, songwriter and...
Grammy: Best Spoken Word Album, “Great Documents” (1977)
Oscar: Best Actor, “On Golden Pond” (1981)
Tony: Best Actor, “Mister Roberts” (1948); Best Actor, “Clarence Darrow” (1975)
Oscar Hammerstein II, lyricist and producer (1895-1960)
Grammy: Best Original Cast Album, “The Sound of Music” (1960)
Oscar: Best Original Song, “The Last Time I Saw Paris” from “Lady Be Good” (1941); “It Might As Well Be Spring” from “State Fair” (1945)
Tony: Three awards for “South Pacific” (1950); Best Musical, “The King and I” (1952); Best Musical, “The Sound of Music” (1960)
Elton John
Grammy: Best Pop Performance by a Duo or Group, “That’s What Friends Are For” (1986); Best Instrumental Composition, “Basque” (1991); Best Male Pop Vocal Performance, “Can You Feel the Love Tonight” (1994); Best Male Pop Vocal Performance, “Candle in the Wind” (1997); Best Show Album, “Aida” (2000)
Oscar: Best Original Son, “Can You Feel the Love Tonight” from “The Lion King” (1994)
Tony: Best Score, “Aida” (2000)
John Legend, songwriter and...
- 8/29/2022
- by Thom Geier
- The Wrap
“Alfie.” “9 to 5.” “The Power of Love.” “You’ve Got a Friend in Me.” I’m sure at least one of these classic songs brings back memories of a favorite film, and the tune is probably playing repeat in your head now. It’s not surprising that all of these songs were nominated for the Academy Award for Best Original Song. What is surprising is that they all lost. So which ones are best “losers?”
The Best Song category at the Academy Awards has a long and varied history. Introduced at the seventh ceremony, initially any song in a film, original or not, was considered; however, this rule was changed after 1941, when composer Jerome Kern was upset because his winning song, “The Last Time I Saw Paris,” had previously been recorded, and he felt a song written for a film should have won. Since then, only songs written specifically...
The Best Song category at the Academy Awards has a long and varied history. Introduced at the seventh ceremony, initially any song in a film, original or not, was considered; however, this rule was changed after 1941, when composer Jerome Kern was upset because his winning song, “The Last Time I Saw Paris,” had previously been recorded, and he felt a song written for a film should have won. Since then, only songs written specifically...
- 4/16/2021
- by Susan Pennington and Chris Beachum
- Gold Derby
“Alfie.” “9 to 5.” “The Power of Love.” “You’ve Got a Friend in Me.” I’m sure at least one of these classic songs brings back memories of a favorite film, and the tune is probably playing repeat in your head now. It’s not surprising that all of these songs were nominated for the Academy Award for Best Original Song. What is surprising is that they all lost. So which ones are best “losers?”
The Best Song category at the Academy Awards has a long and varied history. Introduced at the seventh ceremony, initially any song in a film, original or not, was considered; however, this rule was changed after 1941, when composer Jerome Kern was upset because his winning song, “The Last Time I Saw Paris,” had previously been recorded, and he felt a song written for a film should have won. Since then, only songs written specifically...
The Best Song category at the Academy Awards has a long and varied history. Introduced at the seventh ceremony, initially any song in a film, original or not, was considered; however, this rule was changed after 1941, when composer Jerome Kern was upset because his winning song, “The Last Time I Saw Paris,” had previously been recorded, and he felt a song written for a film should have won. Since then, only songs written specifically...
- 4/14/2021
- by Susan Pennington, Chris Beachum and Misty Holland
- Gold Derby
This article marks Part 12 of the Gold Derby series analyzing 84 years of Best Original Song at the Oscars. Join us as we look back at the timeless tunes recognized in this category, the results of each race and the overall rankings of the winners.
The 1973 Oscar nominees in Best Original Song were:
“(You’re So) Nice to Be Around” from “Cinderella Liberty”
“Live and Let Die” from “Live and Let Die”
“Love,” from “Robin Hood”
“All That Love Went to Waste” from “A Touch of Class”
“The Way We Were” from “The Way We Were”
Won and should’ve won: “The Way We Were” from “The Way We Were”
The title song from “The Way We Were,” composed by the brilliant, Egot-winning Marvin Hamlisch, alongside Alan and Marilyn Bergman, is a dreamy, haunting, immensely moving piece, performed splendidly by the incomparable Barbra Streisand. The film’s leading lady strikes just the right notes here,...
The 1973 Oscar nominees in Best Original Song were:
“(You’re So) Nice to Be Around” from “Cinderella Liberty”
“Live and Let Die” from “Live and Let Die”
“Love,” from “Robin Hood”
“All That Love Went to Waste” from “A Touch of Class”
“The Way We Were” from “The Way We Were”
Won and should’ve won: “The Way We Were” from “The Way We Were”
The title song from “The Way We Were,” composed by the brilliant, Egot-winning Marvin Hamlisch, alongside Alan and Marilyn Bergman, is a dreamy, haunting, immensely moving piece, performed splendidly by the incomparable Barbra Streisand. The film’s leading lady strikes just the right notes here,...
- 12/4/2018
- by Andrew Carden
- Gold Derby
This article marks Part 6 of the Gold Derby series analyzing 84 years of Best Original Song at the Oscars. Join us as we look back at the timeless tunes recognized in this category, the results of each race and the overall rankings of the Academy Awards winners.
The 1954 Oscar nominees in Best Original Song were:
“The High and the Mighty” from “The High and the Mighty”
“The Man That Got Away” from “A Star Is Born”
“Hold My Hand” from “Susan Slept Here”
“Three Coins in the Fountain” from “Three Coins in the Fountain”
“Count Your Blessings (Instead of Sheep)” from “White Christmas”
Won: “Three Coins in the Fountain” from “Three Coins in the Fountain”
Should’ve won: “The Man That Got Away” from “A Star Is Born”
Sure, the 1954 Oscar ceremony could have gone a lot worse. “On the Waterfront” and leading man Marlon Brando could have, for instance, fallen...
The 1954 Oscar nominees in Best Original Song were:
“The High and the Mighty” from “The High and the Mighty”
“The Man That Got Away” from “A Star Is Born”
“Hold My Hand” from “Susan Slept Here”
“Three Coins in the Fountain” from “Three Coins in the Fountain”
“Count Your Blessings (Instead of Sheep)” from “White Christmas”
Won: “Three Coins in the Fountain” from “Three Coins in the Fountain”
Should’ve won: “The Man That Got Away” from “A Star Is Born”
Sure, the 1954 Oscar ceremony could have gone a lot worse. “On the Waterfront” and leading man Marlon Brando could have, for instance, fallen...
- 8/27/2018
- by Andrew Carden
- Gold Derby
This article marks Part 3 of the Gold Derby series analyzing 84 years of Best Original Song at the Oscars. Join us as we look back at the timeless tunes recognized in this category, the results of each race and the overall rankings of the Academy Awards winners.
The 1941 Oscar nominees in Best Original Song were:
“Out of the Silence” from “All-American Co-Ed”
“Blues in the Night” from “Blues in the Night
“Boogie Woogie Bugle Boy of Company” from “Buck Privates”
“Baby Mine” from “Dumbo”
“The Last Time I Saw Paris” from “Lady Be Good”
“Dolores” from “Las Vegas Nights”
“Be Honest with Me” from “Ridin’ on a Rainbow”
“Chattanooga Choo Choo” from “Sun Valley Serenade”
“Since I Kissed My Baby Goodbye” from “You’ll Never Get Rich”
Won: “The Last Time I Saw Paris” from “Lady Be Good”
Should’ve won: “Boogie Woogie Bugle Boy of Company B” from “Buck Privates...
The 1941 Oscar nominees in Best Original Song were:
“Out of the Silence” from “All-American Co-Ed”
“Blues in the Night” from “Blues in the Night
“Boogie Woogie Bugle Boy of Company” from “Buck Privates”
“Baby Mine” from “Dumbo”
“The Last Time I Saw Paris” from “Lady Be Good”
“Dolores” from “Las Vegas Nights”
“Be Honest with Me” from “Ridin’ on a Rainbow”
“Chattanooga Choo Choo” from “Sun Valley Serenade”
“Since I Kissed My Baby Goodbye” from “You’ll Never Get Rich”
Won: “The Last Time I Saw Paris” from “Lady Be Good”
Should’ve won: “Boogie Woogie Bugle Boy of Company B” from “Buck Privates...
- 7/30/2018
- by Andrew Carden
- Gold Derby
Henry Fonda, actor (1905-82) Grammy: Best Spoken Word Album, “Great Documents” (1977) Oscar: Best Actor, “On Golden Pond” (1981) Tony: Best Actor, “Mister Roberts” (1948); Best Actor, “Clarence Darrow” (1975) Oscar Hammerstein II, lyricist and producer (1895-1960) Grammy: Best Original Cast Album, “The Sound of Music” (1960) Oscar: Best Original Song, “The Last Time I Saw Paris” from “Lady Be Good” (1941); “It Might As Well Be Spring” from “State Fair” (1945) Tony: Three awards for “South Pacific” (1950); Best Musical, “The King and I” (1952); Best Musical, “The Sound of Music” (1960) Elton John Grammy: Best Pop Performance by a Duo or Group, “That’s What Friends...
- 7/13/2017
- by Thom Geier
- The Wrap
Switzerland – Of all the breathless hype that comes with each new James Bond movie, the man who played Bond the longest (and in the most films) is often forgotten. Sir Roger Moore – he was knighted for his charity work – portrayed Bond from 1972 to 1985, and died in Switzerland on May 22, 2017. He was 89.
The roguish Moore portrayed Britain’s most famous spy with a air of sophistication and humor, eschewing the harder edge that the first Bond, Sean Connery, had established. From the first film, “Live and Let Die” (1972) to 13 years later with “A View to a Kill,” Moore defined Bond for a generation of 1970s and ‘80s filmgoers. He had been an established British TV actor before taking on his most famous role, and even made inroads in America on the popular series “Maverick” in 1960.
Roger Moore Strikes a Familiar Pose as James Bond
Photo credit: Eon Productions
Roger Moore was...
The roguish Moore portrayed Britain’s most famous spy with a air of sophistication and humor, eschewing the harder edge that the first Bond, Sean Connery, had established. From the first film, “Live and Let Die” (1972) to 13 years later with “A View to a Kill,” Moore defined Bond for a generation of 1970s and ‘80s filmgoers. He had been an established British TV actor before taking on his most famous role, and even made inroads in America on the popular series “Maverick” in 1960.
Roger Moore Strikes a Familiar Pose as James Bond
Photo credit: Eon Productions
Roger Moore was...
- 5/23/2017
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Glenn here with a look at everybody’s favourite category – best original song! Okay, so, sure, even if this year’s roster for best original song doesn’t look like a vintage one for the category, there’s actually some fun to be had when you consider who will win.
Will Diane Warren finally win an Oscar on her eighth nomination? And how strange will it be to see her win for a song from a documentary about sexual abuse alongside Lady Gaga rather than one of the chart-busting hit-singles that her first six nominations were for (lest we forget, Beyond the Lights’ “Grateful” didn’t chart because, well, Rita Ora). Will an opera tune win for the first time? No work of opera has ever been nominated if my research is correct, which is kinda neat even though I think the song is dirge (albeit appropriately so for the...
Will Diane Warren finally win an Oscar on her eighth nomination? And how strange will it be to see her win for a song from a documentary about sexual abuse alongside Lady Gaga rather than one of the chart-busting hit-singles that her first six nominations were for (lest we forget, Beyond the Lights’ “Grateful” didn’t chart because, well, Rita Ora). Will an opera tune win for the first time? No work of opera has ever been nominated if my research is correct, which is kinda neat even though I think the song is dirge (albeit appropriately so for the...
- 1/22/2016
- by Glenn Dunks
- FilmExperience
Luis Buñuel movies on TCM tonight (photo: Catherine Deneuve in 'Belle de Jour') The city of Paris and iconoclastic writer-director Luis Buñuel are Turner Classic Movies' themes today and later this evening. TCM's focus on Luis Buñuel is particularly welcome, as he remains one of the most daring and most challenging filmmakers since the invention of film. Luis Buñuel is so remarkable, in fact, that you won't find any Hollywood hipster paying homage to him in his/her movies. Nor will you hear his name mentioned at the Academy Awards – no matter the Academy in question. And rest assured that most film critics working today have never even heard of him, let alone seen any of his movies. So, nowadays Luis Buñuel is un-hip, un-cool, and unfashionable. He's also unquestionably brilliant. These days everyone is worried about freedom of expression. The clash of civilizations. The West vs. The Other.
- 1/27/2015
- by Andre Soares
- Alt Film Guide
If you're not heading to see "Oz the Great and Powerful" this weekend, take a chance on these picks to stream your own featured presentation at home. Here's one G, one PG, and one PG-13 pick to keep your kids, tweens, or teens happy on Family Movie Night -- or if you're unlucky enough to live in the path of a snow storm, the next snow day. G Pick - Family Classic: "Dumbo" (1941, 64 minutes) Netflix Amazon On Demand iTunes Kids Will Love: Even kids with short attention spans can handle this 64-minute Disney classic about a big-eared circus elephant that finds an unlikely best friend in a little mouse that teaches him to reach his true potential. But be warned, some kids (and parents) find the whole pink elephant hallucination segment a bit freaky. Parents Will Love: Even 70-plus years later, there's no more touching Disney ballad than "Baby Mine.
- 3/7/2013
- by Sandie Chen
- Moviefone
Patty Andrews: Last Surviving member of The Andrews Sisters dead at 94 Patty Andrews, the lead vocalist and last surviving member of the Andrews Sisters musical trio, died of "natural causes" earlier today at her home in the Los Angeles suburb of Northridge, in the San Fernando Valley. Andrews, who was also the youngest sister, was 94. (Photo: The Andrews Sisters: Laverne Andrews, Patty Andrews, Maxene Andrews.) Born in Minnesota into a Greek-Norwegian family, the Andrews Sisters began their show business career in the early ’30s, while both Maxene and Patty were still teenagers. Their first big hit came out in 1938: the English version of the Yiddish song "Bei Mir Bistu Shein" (aka "Bei mir bist du schön"), with lyrics — "To me, you’re grand" — by Sammy Cahn and Saul Chaplin. (The song made into the movies that same year, but Warner Bros. star Priscilla Lane is the one singing it in Love,...
- 1/31/2013
- by Andre Soares
- Alt Film Guide
If you’ve hunted around for movie bargains, you’ve probably seen some of Mill Creek Entertainment’s 50-Movie Packs on DVD. Apart from other great releases by Mill Creek, these packs are phenomenal boons to cinephiles looking to collect older titles.
There are three new packs available, and I want to not only let you in on a discount code, but I have one of the packs available for you to win.
I know a lot of people may be quick to overlook these packs, and not every movie included stands out as a major value, but there are some great titles in each of them, and fans of the genres will be pleasantly surprised by what they get out of the deal. I have to admit that there is something about seeing a 50-movie pack, especially when it doesn’t cost a couple of hundred dollars, or more,...
There are three new packs available, and I want to not only let you in on a discount code, but I have one of the packs available for you to win.
I know a lot of people may be quick to overlook these packs, and not every movie included stands out as a major value, but there are some great titles in each of them, and fans of the genres will be pleasantly surprised by what they get out of the deal. I have to admit that there is something about seeing a 50-movie pack, especially when it doesn’t cost a couple of hundred dollars, or more,...
- 5/10/2012
- by Marc Eastman
- AreYouScreening.com
The sad news of Elizabeth Taylor’s death last week marked the end of Hollywood’s Golden Era for me, the last remaining superstar finally expired. As a fan of Taylor’s since childhood – I’ll never forget seeing Cleopatra (1963) for the first time at 11 years old and literally being transfixed with the actress’s beauty for the entire 4 hour run time! – I’ve decided to abandon my usual Top 10 format and offer you her 20 greatest roles…because 10 is simply not a big enough number for the biggest diva of the screen!
Beginning in the industry at the tender age of 9, Taylor quickly rose to stardom on the MGM lot and become the most iconic actress of the 20th century. With an impressive 70 acting credits to her name, her life was plagued with illness but never prevented her from succeeding. Transcending her inimitable beauty, she proved that she was a...
Beginning in the industry at the tender age of 9, Taylor quickly rose to stardom on the MGM lot and become the most iconic actress of the 20th century. With an impressive 70 acting credits to her name, her life was plagued with illness but never prevented her from succeeding. Transcending her inimitable beauty, she proved that she was a...
- 3/31/2011
- by Stuart Cummins
- Obsessed with Film
We’ve lost a classic star, one that was almost too good to be true. She had brains and beauty in copious amounts, and film fans loved her every moment she was on screen. Not going to go into any of the ill will people threw upon her, this isn’t about any of that. This is about the legend Elizabeth Taylor and what she meant to us, movie lovers the world over. Of course this isn’t a definitive Top 10. This is mine, but I would love for anyone and everyone to contribute their own entries that they would pick instead.
10. Cleopatra (1963)
This was the film that introduced me to Elizabeth Taylor at a ripe young age of 5. Once she came on the screen, I was in love. Taylor was probably the earliest crush I could remember having (besides Drew Barrymore in E.T.) and I just couldn’t take my eyes off of her.
10. Cleopatra (1963)
This was the film that introduced me to Elizabeth Taylor at a ripe young age of 5. Once she came on the screen, I was in love. Taylor was probably the earliest crush I could remember having (besides Drew Barrymore in E.T.) and I just couldn’t take my eyes off of her.
- 3/25/2011
- by James McCormick
- CriterionCast
The last film star and expert survivor – David Thomson celebrates the life of Elizabeth Taylor
She was her own montage: seven husbands, eight marriages, diamonds beyond the counting, scandals like forgotten promises, two Oscars for films that showed the immense creative journey she could take, soaring as if on a single breath from the ridiculous Butterfield 8 (playing a hopelessly old-fashioned Hollywood "whore") to Martha in Edward Albee's and Mike Nichols's Who's Afraid of Virginia Woolf?, a defiant wreck out of the true heartland of American tragedy. She had the range, nerve and instinct that only Bette Davis had had before – and like Davis, Taylor was monster and empress, sweetheart and scold, idiot and wise woman. We went in awe of her, but with one word or a knowing smile she assured us she was one of us. So beautiful, she could go crazy, too – and then move on.
She was her own montage: seven husbands, eight marriages, diamonds beyond the counting, scandals like forgotten promises, two Oscars for films that showed the immense creative journey she could take, soaring as if on a single breath from the ridiculous Butterfield 8 (playing a hopelessly old-fashioned Hollywood "whore") to Martha in Edward Albee's and Mike Nichols's Who's Afraid of Virginia Woolf?, a defiant wreck out of the true heartland of American tragedy. She had the range, nerve and instinct that only Bette Davis had had before – and like Davis, Taylor was monster and empress, sweetheart and scold, idiot and wise woman. We went in awe of her, but with one word or a knowing smile she assured us she was one of us. So beautiful, she could go crazy, too – and then move on.
- 3/25/2011
- by David Thomson
- The Guardian - Film News
A Hollywood legend has passed away. Actress Elizabeth Taylor, who made her fame with glamour roles in classic movies, charity work and failed romances, died today at the age of 79. She passed away at the Cedars-Sinai Medical Center of a congestive heart failure. Her publicist Sally Morrison said she was in the hospital for the past six weeks and was surrounded by her four children. “My mother was an extraordinary woman who lived life to the fullest, with great passion, humor and love,” said Michael Wilding, her son in a statement. “We know, quite simply, that the world is a better place for Mom having lived in it. Her legacy will never fade, her spirit will always be with us, and her love will forever in our hearts.” Taylor was a winner of two Academy Awards, including Best Actress for 1967’s “Who’s Afraid of Virginia Woolf?” and Best Actress for 1961’s “Butterfield 8.
- 3/23/2011
- LRMonline.com
Van Johnson, Elizabeth Taylor in Richard Brooks' The Last Time I Saw Paris (top); Alice Terry, Antonio Moreno in Rex Ingram's Mare Nostrum (middle); Gina Lollobrigida (bottom) F. Scott Fitzgerald, Rex Ingram, and Gina Lollobrigida. No, not together again — or ever, for that matter. But samples of their individual works can all be found this evening on Turner Classic Movies. Right now, TCM is showing Henry King's Tender Is the Night (1962), Jennifer Jones' swan song as a major movie star. Jones was criticized for being too old to play the film's young heroine Nicole Diver — and at 42 or so she surely was. Having said that, let me add that I enjoyed her performance all the same. Coincidentally, I'm currently reading Richard Buller's biography of silent-film actress Lois Moran (the young daughter in the 1925 version of Stella Dallas), who befriended F. Scott Fitzgerald in the late 1920s...
- 12/6/2010
- by Andre Soares
- Alt Film Guide
Van Johnson, the freckled, red-haired heartthrob of the ‘40s, who attempted to shake his boy-next-door image during the ‘50s in a slew of films, died Friday at 92, of natural causes, in Nyack, New York.
- 12/14/2008
- IMDb News
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