Méliès’, with some more non-toxic, cheerfully non-threatening devils. Nice donkey. Amazing serpent. The Méliès’ atelier is always really good with hydraulics (the transformations of that well), or with stage technology/special effects generally. This one features some more nice figure proliferation, and its screen movement is very well paced and distributed.
Quibble, or historical impatience: at one point there’s a devil standing up on the tower. We can only see his legs, but not because that choice makes things more interesting, or chilling. That’s just the shot they came up with, and it doesn’t quite do the job that needed doing. That’s why reframing or cutting needed inventing. Someone is getting around to doing just that, and that’s why Méliès’, eventually, goes by the boards.