The only nomination for François Girard's drama proved to be the one to win an Oscar. Beating Thomas Newman, John Williams and Rachel Portman, it once more showed that the Academy went for something classical and dramatically historic, namely the underdog.

Perhaps it was Roberto Benigni that surprisingly won the Oscar for best Actor, his performance after it was equal to Oscar standards, the score for his movie had all the Italian charm, but beating Williams' and Zimmer's war epic's wasn't something I expected. And Pleasantville was a dream of a score in the film.

Falling in the line of Academy standards, John Madden's all concurring romantic drama took every Oscar that was presented, but still Warbeck's score lacked what Goldsmith's, Shaiman's and Zimmer's score rightfully possessed, a magic that made score fans cry of joy.

James Cameron's groundbreaking and visually spectacular love story got enough nominations to win the most respect in any category. So James Horner's superb score won deservedly, though others might deny that, because Spielberg saw Williams as the earned winner of the evening.

This charming and surprisingly box office hit received four nominations, but probably the slightest in odds won that globe. Because of the numeral addition of songs did some question that decision, though I couldn't see Elfman or Zimmer win it frankly.

I can't help but wonder, if the movie wasn't so hot, would there be room for Gabriel Yared's effort? Probably not, because the score follows the positive and negative path of the movie, and though Yared's effort was far from being the ultimate score of the year, there was only a select competition of other possible winners.

Dramatic, beautiful and charming, key elements for gathering an Oscar, Rachel Portman's score hasn't been her finest effort, though charming as it is. But there wasn't a big name in the group anyway and Menken's solid name didn't do much for giving him another Oscar (which he deserved). Seams to be a weak year for blockbuster scores.

Though not winning an Oscar for Best Picture, Actor or Director, it is once more the music that supports the ongoing question in Award time. Is this earned? There is no question that Bacalov's score got heart and charm, but Horner deserved to win two Oscars, for Howard's and Gibson's film. I start to wonder if these persons simply ignore American scores of true magic.

Menken's name is simply all that does it, and meaning he scores a Disney effort is simply all that needs him do win an Oscar. I had questions of Newman's effort and Shaiman's score (just the main theme is superb), Menken could not be left out of the impressive win of Oscar contenders.

As with most Disney efforts, the music is prominently the candidate for winning the best original score and possibly along with it the song. But among critic for Menken's efforts. I feel no doubt with Hans Zimmer's effort, along Goldsmith and Howard, these are the best projects Disney has ever received, no matter how good Silvestri's score was.

If there is one score that multiplies everything an Oscar score should have, it is John Williams' outstanding yet tragic score. This classical masterpiece stands among the best scores ever composed, no matter how classical and good the other two dramatic scores were. I must admit both thriller scores feel mostly out of place here.

Disney's magic is unparalleled and combined with Menken it stands for success. But Aladdin isn't such a wonderful score, and it's proven that the Academy simply goes for something magical, no matter how good the other scores are, Goldsmith's effort had far better papers and maybe some other candidates deserved better then simply this result.

Beauty and the Beast is one of those rare Disney efforts that makes it and even was awarded for best film. Menken's contribution resulted once more in Oscar wins, for score and song. But the Disc proved that both standards weren't as good as they could have been, and especially big scores were missing, including Hook and Backdraft.

Take one effort that stands for everything that Academy simply loves and you got John Barry's masterpiece Dances with Wolves. This emotional and simply beautiful score stands above the others and knocked down Williams and other contenders, still, scores such as Avalon and Ghost hadn't much to be praiseful about.