To say that the dramatic and/or production quality of the films scored by Korngold were inferior to those scored by Rózsa is absurd and insupportable. If anything, a strict one-to-one comparison in overall quality is difficult because Korngold wrote credited music for only sixteen films, whereas Rózsa had 95 credited scores.

If anything, the precentage Korngold's twenty total films widely regarded as classics is far higher than of the hundred-some-odd done by Rózsa. The reason for this is that, while Rózsa's hard-won long-term contract with MGM during the middle period of his career gave him nearly unprecedented freedom to turn down any assignment, and take three months' unpaid vacation each summer to compose his own music, he was never treated as the kind of "treasure" that Warner Bros. saw Korngold as being, in which films were recut to conform to his music -- rather than the other way 'round -- with the sort of artistic and personal deference accorded him by everyone at the studio from Jack Warner, on down.

These distinctions and statistics, and the BBC's decision to favor Korngold over Rózsa, have nothing to do with the two composers' ability and commitment to their art but, as I've suggested earlier, because Korngold's early career as Classical prodigy and wunderkind, his escape from the Anschluss and Holocaust, along with his association with the most golden part of Hollywood's Golden Age, have left him and his music more fashionable than Rózsa's, and I doubt that anything is likely to change that.