Analysis: What's wrong and right about the Golden Globes music nominations
The Golden Globes got it half right: the nominations, announced today, hit a homerun when it comes to best original score. The choices are predictable, but that doesn’t mean they aren’t worthy.
Michael Giacchino’s “Up” is touching and should win for the opening segment about the now-widowed Carl and his courtship and his life with his wife. Marvin Hamlisch’s score for “The Informant!” is whimsical and humorous and perfectly reflects the wackiness and delusions going on Matt Damon’s head. Similarly, Karen O and Carter Burwell’s “Where the Wild Things Are” music fits beautifully with the magical, disturbing and thought-provoking movie’s theme. James Horner’s “Avatar” score befits a sweeping James Cameron blockbuster. I confess that I haven’t heard Abel Korzeniowski’s score for “A Single Man,” so I can’t comment on that.
With Best Original Song, they went for the safe, established nominees other than Ryan Bingham and T-Bone Burnett for “The Weary Kind” from “Crazy Heart.” Just the names U2 and Paul McCartney are enough to garner nominations, regardless of the quality of the song and where it fits in. Also, it’s a much bigger ratings grabber to have U2 and a Beatle up on stage rather than someone like Karen O, who should have gotten nominated for “All is Love” from “Where the Wild Things Are.”
Other notable omissions are a number of songs from Disney’s latest animated feature, “The Princess and the Frog,” including Randy Newman’s “Down in New Orleans,” and “I Can See in Color,” written by Mary J. Blige and Raphael Saadiq and performed by Blige for “Precious.”
Neither Miley Cyrus' “The Climb” from “Hannah Montana” or the Adam Lambert-performed “Time for Miracles” from “2012” were eligible because they were not written specifically for the films in which they were featured.