I haven't seen a lot of Browning's films; many of which are actually difficult to find, especially his silent films, many of which are considered lost, most notably, "London After Midnight" which there is a version of out there using stills from the movie that has a new score paired with an attempted reconstruction of that film from other notes, but I wouldn't call an adequate replacement for the actual film; just the best we got of what's left. He made movies that weren't just horror or thrillers too, but it's the genre he's known for. He worked extensively with Lon Chaney at the peak of his career, but if there is one thing that distinguishes his best films, it's that he tends to like the idea of having outsiders infiltrate modern society. Often these were criminals, but often they were vampires and other horror creatures. "Freaks" was literally about a group of sideshow freaks, but the main story is basically a love triangle that goes awry when it's revealed that one character is solely interested in another for their wealth and money. It wasn't the first circus film he made either, usually listed as his breakout film was "The Unholy Three" about circus performers who decide to come together and run a con to steal precious jewels, using their circus skills and talents for the job. Browning was actually born into a circus so it's makes sense that he's the director who first finds sympathetic, or even humanistic portrayals of these characters. His biggest achievement is probably that he was the first filmmaker to take monsters and not see them as such.
Originally he wanted an unknown actor for Dracula, preferably a European one but Lugosi had been playing Dracula on stage on Broadway. He was a foreigner originally, even though he'd been in America for decades, it still works for the film. They actually shot the movie twice, once in English and once in Spanish, back then they shot the film twice in each language, so the Spanish-language version is around somewhere if you want a curiosity. The current version usually includes a Phillip Glass score that enhances the movie. The original actually didn't have a musical score, which was a bit unusual for a film at the time, even at that time of early sound. It works without it, but I do tend to associate Dracula better with a haunting musical undertone.
I guess the only other note is for other to remembers that this is the barebones original telling. I've seen it with younger audiences who don't quite understand the modern appeal, but honestly, I always get sucked into it whenever I find it on anyway. Even in a culture that's taken this character and the concept of vampires in general and pulled them every which was possible for decades now, I still find the original remains compelling on it's own. It's part of why we keep going through these phases of turning these characters from frightening, to kitsch to sexy to back to frightening and back to kitsch again. Stoker may have invented the character, but it was Browning and Lugosi who have helped it stay around decades after.