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Use of Music in Dracula

Shot (14) 1 sec.: MS at floor level of D stretched on the floor with his head to the right of the frame and M kneeling beside him as she pushes the sword further into him. While the music has been subdued throughout, the violent sound effects that punctuate this and the next three shots are very prominent, helping to heighten the violence of her movements.

Shot (15) + sec.: ECU of his elaborately gold-embroidered robe.

Shot (16) + sec.: ECU of the blood-drenched sword blade coming out of the other side as his body is flung upward by the force of her thrust. (Note: Shots 15 and 16 appear to be almost one continual shot; on closer examination, however, they are actually two very quick images that lend more movement to the sequence than a single shot would have been able to communicate effectively.)

Shot (17) 3 secs.: Same as shot 14. D screams in agony and twitches upward twice as M watches, almost impassively.

Shot (18) 5 secs.: Slightly wider CU of M as the burned wafer imprint (where Van Helsing had previously injured her by pressing a communion wafer to her brow) disappears from her forehead in a tiny puff of smoke. She raises her left hand to her forehead, showing her wedding ring and touching her forehead gingerly in wonder.

Shot (19) 15 secs.: ECU of D, more centered on his face and more of an overhead shot than any of his previous CU's. The camera slowly zooms in as he finds peace. The lights change to a warmer glow, making him look truly human, then the light becomes a bar of colder light across his eyes as they roll up and he dies. This appears to be effective acting on the actor's part, rather than a still-frame illusion, as he lets the life drain from his eyes and stills his breathing (and even the twitching of his nostrils) long enough to convey the impression of D's passing.

Shot (20) 31 secs.: Same as shot 18, as M realizes D has died. The music, which has been fairly soft throughout most of the s...

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Use of Music in Dracula. (1969, December 31). In Retrieved 03:51, August 20, 2017, from
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