 Commenting on the finale, film historian Graham Petrie notes that Leni and cinematographer Hal Mohr "handle the camera with the utmost possible freedom, culminating in a scene in which the camera swings on a rope with the villain from one part of the theater to another.Along the way, Leni revels in the shadows, cobwebs, tilted angles, subtly distorted perspectives, ominously confined spaces, and clutching hands that had by now become his trademark.