The director's recent work may have breathed new life into the concept of African American undead, but the origins of this subgenre trace back to the 1970s cultural movement. One of the most iconic early examples was the seminal 1972 movie Blacula. In that film, William Marshall's character is turned by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a caricature, the performer transformed the part into something regal, giving his character an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy appeared to draw a cue from Marshall, enriching his own character's mythology in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be humorous, terrifying, and intellectually stimulating all at once, earning its position in the canon by balancing all three while honoring the heritage of the category.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you want a dash of humor with your scares this Halloween.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to the Big Apple. But instead of journeying from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, seeking to locate and ensure the continuation of his vampire lineage with an offspring of his clan.
The character makes his entrance in New York on a ghost ship whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then witnesses a black wolf jump from the ship, dart into an alley, and transform into a human — like Michael Jackson's Panther Dance from the longer Black or White video. Funky Blaxploitation-style music starts, establishing the tone for a movie that handily balances scares and laughs.
Creative Visions
Recently after his final entry in the Nightmare on Elm Street series, the director was keen to break from his scary movie image and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and real fear). Meanwhile, the star wanted to subvert expectations by venturing into a pure scary movie rooted in Dracula lore. The clash of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But once the film clicks into high gear, it opens up to its strengths — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a crime-drama edge to the narrative. Among Black cinema’s most praised performers, she delivers a powerful acting with her co-star, a well-known actor from the time. In the meantime, Murphy spends the majority of the film with Kadeem Hardison, creating a uproarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his macabre part as his appearance deteriorates throughout the film is a highlight of how the star's comedic style enhances the humor and fear, even when employed by the cast).
Supernatural Romance
When Max and Rita’s paths intertwine and the stars appear together, the movie hits its stride — the tension heightens, the fear escalates, and their darkly seductive chemistry takes center stage. The vampire's scheme is to remove all Rita has in her life and then intervene. He kills her housemate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and weaken her faith.
As the story unfolds, it becomes more darkly romantic, featuring transformations and revelations of origins. This leads to a third act filled with seduction, as mortality and damnation are at stake. The film concludes with a teaser hinting at a potential sequel, one that could have happened had the film been more successful. Vampire in Brooklyn earned a moderate financial success and got mostly negative reviews upon release. Over time, it found new life as a beloved classic, with reviewers later applauding Craven’s direction, the electric chemistry the leads, and its clever mix of horror and comedy. The film flashes glimpses of genius that might have shone brighter had everyone involved been aligned on a unified vision, rather than delivering the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an overlooked but impactful entry defined by its daring approach and memorable acting.
