murderer by means of a "vampire masquerade" so as to elicit his confession. Browning deviates from his 1927 silent film in that here the sleuth, Professor Zelen (Lionel Barrymore), rather than posing as a vampire himself in a dual role, hires a troupe of talented thespians to stage an elaborate hoax to deceive the murder suspect Baron Otto von Zinden (Jean Hersholt). Bela Lugosi was enlisted to play the lead vampire in the troupe, Count Moro. As a direct descendant of Browning's carnival-themed films, Browning offers the movie audience a generous dose of Gothic iconography: "hypnotic trances, flapping bats, spooky graveyards, moaning organs, cobwebs thick as curtains -- and bound it all together with bits of obscure Eastern European folklore..." As such, Mark of the Vampire leads the audience to suspend disbelief in their skepticism regarding vampires through a series of staged illusions, only to sharply disabuse them of their credulity in the final minutes of the movie.Sweney, 2006 p. 206: The picture is "in the realm of Browning's carnival films...showing the audience how easy it is to dupe them…In the last five minutes of the film, the vampires are revealed to be actors" hired by Professor Zelen. Browning reportedly composed the conventional plot scenes as he would a stage production, but softened the static impression through the editing process. In scenes that depicted the supernatural, Browning freely used a moving camera. Film historian Matthew Sweney observes "the [special] effects shots...overpower the static shots in which the film's plot and denouement take place...creating a visual tension in the film." Cinematographer James Wong Howe's lighting methods endowed the film with a spectral quality that complimented Browning's "sense of the unreal". Critic Stuart Rosenthal writes:Mark of the Vampire is widely cited for its famous "tracking shot on the stairwell" in which Count Mora (Bela Lugosi) and his daughter Luna (Carol Borland) descend in a stately promenade. Browning inter-cuts their progress with images of vermin and venomous insects, visual equivalents for the vampires as they emerge from their own crypts in search of sustenance. Rosenthal describes the one-minute sequence: In another notable and "exquisitely edited" scene Browning presents a lesbian-inspired seduction. Count Mora, in the form of a bat, summons Luna to the cemetery where Irene Borotyn (Elizabeth Allan) (daughter of murder victim Sir Karell, awaits in a trance.) When vampire Luna avidly embraces her victim, Count Moro voyeuristically looks on approvingly. Borland's