Growing up immersed in the world of cinema, certain films and their soundtracks leave an indelible mark. For me, Frank Oz’s Little Shop of Horrors was one of those cinematic experiences. To this day, it stands as a monumental movie musical, a captivating blend of horror and comedy, elevated by stellar performances from Rick Moranis and Ellen Greene. The score, crafted by Alan Menken and the late Howard Ashman, is nothing short of brilliant, with tracks like “Somewhere That’s Green” remaining timeless classics. Its place alongside, or even slightly above, The Rocky Horror Picture Show in the pantheon of movie musicals is well-deserved, largely due to the genuine heart beating at the core of Little Shop.
Like many stage productions adapted for the silver screen, Little Shop saw Menken and Ashman compose a new song, specifically for consideration as a best original song nominee at the Academy Awards. However, a common pitfall with these added tracks is that they often fail to measure up to the existing score’s quality. “Mean Green Mother from Outer Space” is unfortunately one such example. While tracks like “Skid Row (Downtown),” “Somewhere That’s Green,” and “Suddenly Seymour” represent musical theatre at its finest, “Mean Green Mother” feels somewhat jarring and out of place, despite Levi Stubbs of the Four Tops lending his powerful vocals.
Adding to the perplexing choices of the 1986 Best Original Song Nominees, we find “Somewhere Out There” from the Steven Spielberg-produced animated feature, An American Tail. Despite the film’s undeniable charm – who can resist a Russian-Jewish mouse’s immigration tale? – the song itself grates on the ears. Whether sung by the character Fievel or by muzak royalty James Ingram and Linda Ronstadt in the closing credits, “Somewhere Out There” lacks depth and sophistication, resembling a generic greeting card melody. It even inexplicably clinched a Grammy, further highlighting the sometimes-questionable taste of awards bodies.
Fortunately, beyond these questionable nominations, the 1986 Best Original Song category wasn’t entirely devoid of merit.
In my personal ranking, “Life in a Looking Glass” occupies the third spot. This song, featured in Blake Edwards’ dramedy That’s Life, unfairly received a Razzie nomination alongside its Oscar nod – a rare instance of a song being recognized at both ceremonies. While the film itself may have missed the mark, the song, a collaboration between Edwards’ frequent collaborators Henry Mancini and Leslie Bricusse, and beautifully performed by Tony Bennett, is genuinely pleasant. The lyrics might be a tad direct, but Mancini’s music possesses a distinct beauty. Notably, this nomination marked Mancini’s final Oscar recognition, adding a poignant layer to its story.
When it comes to selecting a winner for 1986, a conflict arises between logic and personal sentiment.
Logically, Top Gun‘s “Take My Breath Away,” performed by Berlin and produced by the legendary Giorgio Moroder, stands as a deserving victor. This song is undeniably sexy and atmospheric, enhancing the film significantly and proving its timeless appeal despite its distinct 80s production style. It perfectly encapsulates the romantic tension and high-stakes drama of Top Gun, becoming synonymous with the film itself. However, my heart also holds a soft spot for Peter Cetera’s theme from The Karate Kid Part II, “Glory of Love”. Despite its undeniably cheesy soft rock elements, it’s a song that’s undeniably catchy and evokes a certain nostalgic charm. I confess to humming it incessantly in the days leading up to writing this.
Ultimately, reason prevails, and “Take My Breath Away” is the rightful winner in my book. Yet, a part of me wouldn’t have been entirely upset if Cetera had somehow managed to pull off an upset victory. Both songs represent the era’s musical landscape and contributed significantly to their respective films’ emotional impact.
Regarding the snubs in the 1986 best original song nominee race, two omissions stand out prominently: Orchestral Manoeuvres in the Dark (OMD)’s “If You Leave,” from Pretty in Pink, a song I consider among the decade’s best, and Madonna’s powerful “Live to Tell,” from At Close Range. These songs, arguably more impactful and enduring than some of the actual nominees, highlight the subjective and often unpredictable nature of awards season. Their absence from the nominations underscores the fact that even the best original song nominees list isn’t always a perfect reflection of quality or cultural impact.
The journey through the best original song nominees and winners reveals not just musical preferences but also a reflection of cinematic history and cultural trends. While “Take My Breath Away” rightfully claimed its place in Oscar history, revisiting the category opens up a broader conversation about the diverse and sometimes surprising choices made in celebrating music in film.
