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An alternate take on Dracula’s editing from 366 Weird Movies:
Critics have unfavorably compared this scene to Melford’s much more fluid shot of Villar’s Count appearance atop the stairwell in Dracula (The Spanish Version). This can be dismissed as sloppy, revisionist criticism. Browning is a master at those elongated pauses where little seems to be happening. With careful, focused attention, this proves to be deceptive, but admittedly is a struggle for viewers corn fed on television bred aesthetics. Comparing the two is akin to comparing an artist as opposed to a mere craftsman. Melford’s scene is surface dramatics and cannot illicit anything remotely comparable to the surreal queasiness Browning evokes here. Additionally, Melford’s entrance climaxes with a jerky and unintentionally comic Villar greeting his visitor. With Melford, the effect is ruined, never recovers,and only worsens. With Browning, the unreal dread has just begun.
Mordaunt Hall’s review of Dracula from the 1931 New York Times: