Just as we tie memories of life experiences to certain songs, a well-executed tune can make even a mundane film become memorable. Considering how much the early days of talkies were dominated by musicals, it’s a bit shocking it took until the 7th Academy Awards to hand out a trophy for Best Original Song. Before Billie Eilish likely takes home her second Oscar this Sunday for Barbie’s “What Was I Made For?” we thought it be a fun (and overly time-consuming) exercise to rank all 89 songs that won Best Song on their own merits — independent of their movie context. How do these songs hold up on their own?
It's a bit much to write out every song, but you can check out the full ranked list of Best Original Song winners via this
YouTube playlist we compiled.
Time for some cinematic binge listening!
HONORABLE MENTION
There are a host of absolutely iconic songs — some of which you may have not realized originated for films — that have been nominated but lost. That list includes “Jeepers Creepers” (Going Places, 1938), “Boogie Woogie Bugle Boy” (Buck Privates, 1941), “That’s Amore” (The Caddy, 1953), “What’s New Pussycat?” (What’s New Pussycat?, 1965), “The Look of Love” (Casino Royale, 1967), “The Bare Necessities” (The Jungle Book, 1967), “Live and Let Die” (Live and Let Die, 1973), “Rainbow Connection (The Muppet Movie, 1979), “9 to 5” (9 to 5, 1980), “Eye of the Tiger” (Rocky III, 1982), “Ghostbusters” (Ghostbusters, 1984), “Footloose” (Footloose, 1984), “(Everything I Do) I Do It for You” (Robin Hood: Prince of Thieves, 1991), “That Thing You Do” (That Thing You Do, 1996), “Miss Misery” (Good Will Hunting, 1997), and “I Don’t Want to Miss a Thing” (Armageddon, 1998).
And there are plenty of gems that didn’t even garner a nomination. No year in this category made as little sense as 1977, when both the iconic “Theme From New York, New York” and the entire soundtrack from Saturday Night Fever garnered no nominations. Seriously, what the heck were the voters on back then? (I mean… the answer is “cocaine”… but you think that would help get the Bee Gees some noms.)
89. "GIGI" (GIGI, 1958)
The nadir of Oscar-winning songs is this musical creepfest where an adult playboy sings about a playboy becoming passionate about the girl who he’s known since she was a kid… because now she’s maturing. It’s skin-crawlingly cringe.
85. “MAN OR MUPPET” (THE MUPPETS, 2011)
A perfect example of a song that doesn’t work independently of the film, it makes zero sense that this middling Muppet tune won an Oscar. Somehow there were only two films nominated for Best Original Song in 2011, which means The Muppets’ far, far, far superior film-starting “Life’s a Happy Song” (which might have cracked the top 10 on this list) was completely ignored. Still, it’s cool that Flight of the Conchords’ Bret McKenzie has a golden statute for writing this one.
79. “SWEET LEILANI” (WAIKIKI WEDDING, 1937)
The first of many nominees sung by Spokane’s own Bing Crosby, this one misses the mark. It’s essentially supposed to be a Hawaiian lullaby, but Crosby is the antithesis of a tropical dude, so it feels incredibly uncomfortable in his voice.
76. “THE BALLAD OF HIGH NOON” (HIGH NOON, 1952)
Because Hollywood was so focused on musicals back in the day, the first 18 Oscars for Best Original Song all appeared as part of the movie’s narrative until this Western ode broke the streak.
74. “THE WAY WE WERE” (THE WAY WE WERE, 1973)
We have arrived at the single biggest injustice in Best Original Song history. This Barbra Streisand-song tune is an absolute snoozefest. But that wouldn’t be such a big deal if it didn’t beat out what could be argued as the best song ever written for a film — Paul McCartney’s “Live and Let Die.” LITERALLY, WHAT THE @#$%?!?
69. “IT’S HARD OUT HERE FOR A PIMP” (HUSTLE & FLOW, 2005)
68. “I JUST CALLED TO SAY I LOVE YOU” (THE WOMAN IN RED, 1984)
This Stevie Wonder joint feels incredibly dated and beat out three better jams: “Ghostbusters” and Footloose’s “Let’s Hear It for the Boy” and “Footloose.”
59. “THE CONTINENTAL” (THE GAY DIVORCEE, 1934)
The first ever Best Original Song winner fits the classic “let’s have a song about doing a specific romantic dance” troupe found in many musicals. It’s a catchy version of the cliche though.
56. “CHIM CHIM CHER-EE” (MARY POPPINS, 1964)
55. “GLORY” (SELMA, 2014)
54. “NAATU NAATU” (RRR, 2024)
In the context of the actual film the song rules, backing up frenetic and epic Indian dance action. But just on its own? Kinda repetitive.
50. “FAME” (FAME, 1980)
49. “COLORS OF THE WIND” (POCAHONTAS, 1995)
Way too narrative driven to rank higher (and there’s no way it should’ve topped Toy Story’s “You’ve Got a Friend in Me”), but I do grant that the chorus is so damn soaring.
47. “NEVER ON A SUNDAY” (NEVER ON A SUNDAY, 1960)
The Greek traditional pop number was the first non-English language song to take home the top prize.
44. “MONA LISA” (CAPTAIN CAREY, U.S.A., 1950)
41. “SWINGING ON A STAR” (GOING MY WAY, 1944)
40. “HIGH HOPES” (A HOLE IN THE HEAD, 1959)
37. “(I’VE HAD) THE TIME OF MY LIFE” (DIRTY DANCING, 1987)
35. “ZIP-A-DEE-DOO-DAH” (SONG OF THE SOUTH, 1947)
Sometimes removing a super catchy song from its movie context actually benefits it (especially if said movie is so racist that it’s permanently locked in the Disney Vault).
34. “BABY, IT’S COLD OUTSIDE” (NEPTUNE’S DAUGHTER, 1949)
This controversial Christmas staple actually is less problematic in its original film version because the song is sung by a pair of couples with more agressive role being gender swapped between the two couples’ back-to-back renditions of the song. (Bonus: one of those singers is Ricardo Montalbán — “KHAAAAAAAN!”)
30. “SKYFALL” (SKYFALL, 2012)
29. “NO TIME TO DIE” (NO TIME TO DIE, 2021)
As previously mentioned, it’s absolutely ridiculous it took until 2012 for a James Bond movie’s theme to win an Oscar. These Adaele and Billie Eilish ones are incredibly worthy winners that capture that spy sleekness (Sam Smith’s winning theme from Spectre… not so much).
27. “UNDER THE SEA” (THE LITTLE MERMAID, 1989)
26. “CAN YOU FEEL THE LOVE TONIGHT” (THE LION KING, 1994)
24. “WHAT A FEELING” (FLASHDANCE, 1983)
22. “THE MORNING AFTER” (THE POSEIDON ADVENTURE, 1972)
21. “UP WHERE WE BELONG” (AN OFFICER AND A GENTLEMAN, 1982)
20. “STREETS OF PHILADELPHIA” (PHILADELPHIA, 1993)
19. “TAKE MY BREATH AWAY” (TOP GUN, 1986)
17. “BEAUTY AND THE BEAST” (BEAUTY AND THE BEAST, 1991)
16. “LET IT GO” (FROZEN, 2013)
15. “A WHOLE NEW WORLD” (ALADDIN, 1992)
A truly magical collection of Disney tunes, the aforementioned three do boast lyrical film specifics, but magic carpet rides, frozen fractals, and beasts can easily be just read as their metaphors rather than literally, so they still rank high.
14. “LAST DANCE” (THANK GOD IT’S FRIDAY, 1978)
A year after inexplicably completely overlooking Saturday Night Fever, the Academy at least had the sense to give a nod to the most iconic dance floor tune sung by “The Queen of Disco,” Donna Summer.
11. “THEME FROM SHAFT” (SHAFT, 1971)
While it barely misses the top 10 because it’s way too into the specifics of the film’s titular bad motherf(SHUT YOUR MOUTH!), it’s borderline impossible to not get up a shake to Isaac Hayes’ deep funk groove.
10. “THANKS FOR THE MEMORY” (THE BIG BROADCAST OF 1938, 1938)
9. “QUE SERA, SERA” (THE MAN WHO KNEW TOO MUCH, 1956)
8. “RAINDROPS KEEP FALLING ON MY HEAD” (BUTCH CASSIDY AND THE SUNDANCE KID, 1969)
7. “LOSE YOURSELF” (8 MILE, 2002)
Hip-hop’s breakthrough in Hollywood came via this ultimate hype-up Eminem track (which overcomes even its storyline specific references).
6. “WHEN YOU WISH UPON A STAR” (PINOCCHIO, 1940)
If you have any qualms with this ultra gentle kiddie classic, you should see a therapist and work out your inner child’s deep seated pain.
5. “WHITE CHRISTMAS” (HOLIDAY INN, 1942)
The best Oscar-winning tune sung by Bing Crosby, this holiday classic’s wistful melancholy heart still resonates with an emotional gut punch.
4. “FALLING SLOWLY” (ONCE, 2007)
The tenderness of the longing in this heartfelt duet is enough to melt even the coldest of hearts, and the indie folk arrangement and performance by Glen Hansard and Markéta Irglová is note-perfect, feeling somehow both monumental and homespun.
3. “SHALLOW” (A STAR IS BORN, 2018)
All three remakes of A Star is Born earned Best Original Song nominations, but easily the best of the lot is the most recent. An instant karaoke staple, its mix of gruff rock songwriting and towering pop melodies make it the best Oscar-winning duet.
2. “MY HEART WILL GO ON” (TITANIC, 1997)
As brilliantly melodramatic and over-the-top as Titanic itself, Celine Dion absolutely belts out the notes in this peak example of a romantic ballad. Unlike the ship, “My Heart Will Go On” is actually unsinkable.
1. “OVER THE RAINBOW” (THE WIZARD OF OZ, 1940)
You don’t need to watch Dorothy’s journey to Oz in order to appreciate the all-time dreamer song. Sung with perfect grace by Judy Garland, “Over the Rainbow” manages to be sad, hopeful, gorgeous and catchy in a way that’s nearly impossible. It’s a true all-time musical classic and the best Oscar-winning song ever. ♦