Rózsa, Miklós (1907–95)
Knights of the Round Table (1953)
Rózsa also used dramatic vocalization in the scores to The Thief of Bagdad (1940), The Red House (1947) Quo Vadis (1951), Julius Caesar (1953), Ben-Hur (1959), King of Kings (1961), and El Cid (1961).
|Finale and Ending Credits|
After Lancelot defeats Modred, he and Percival enter the hall of the Round Table. The Holy Grail appears and the voice of God speaks to Percival. Lancelot is unable to hear the voice nor see the Grail since they can only be perceived by one pure of heart. The voice tells Percival that Gallahad (Lancelot’s son) is to be the most worthy of all knights, and that Lancelot is to be forgiven of his sins.
This scene well illustrates the difference between diegetic and non-diegetic (dramatic) vocalization. For Percival the vocalization is diegetic, since he can hear the singing directly. For Lancelot the vocalization is non-diegetic; he cannot hear the singing, but is effected by its supernatural power.
The appearance of the Holy Grail, accompanied by dramatic vocalization, is well parodied in the later Monty Python and the Holy Grail (1975).