The director's latest work may have breathed new life into the idea of Black vampires, but the roots of this subgenre date back to the 1970s cultural movement. One of the most iconic early examples was the seminal 1972 movie Blacula. In that motion picture, William Marshall's character is turned by Dracula and burdened with the insulting name “Blacula.” Originally written as a caricature, Marshall transformed the part into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy appeared to draw a cue from his predecessor, deepening his own character's mythology in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, terrifying, and intellectually stimulating all at once, securing its place in the canon by juggling all three while respecting the subgenre's legacy.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you need a little comedy with your frights this Halloween.
A Tale of Two Cities
Like the royal character in Coming to America (the actor's 1988 masterpiece), Maximillian is drawn to New York City. But rather than journeying from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to locate and ensure the continuation of his vampire lineage with an offspring of his clan.
Maximillian arrives in New York on a phantom vessel whose crew has been inexplicably killed, a nod to Nosferatu. The vessel is discovered by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then observes a dark creature leap from the ship, dart into an alley, and morph into a man — reminiscent of the iconic routine from the longer Black or White video. Funky 1970s-inspired soundtrack kicks in, setting the tone for a film that expertly mixes scares and laughs.
Creative Visions
Recently after his final entry in the iconic horror series, Craven was eager to move beyond his horror reputation and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and real fear). Meanwhile, Murphy wanted to subvert expectations by venturing into a pure scary movie based on vampire mythology. The clash of those artistic aims explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But once the movie clicks into high gear, it opens up to its strengths — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), brings a crime-drama edge to the narrative. One of Black cinema’s most praised performers, she gives a commanding performance with her co-star, a well-known actor from the era. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, forming a uproarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when employed by other actors).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the movie reaches its peak — the tension heightens, the fear escalates, and their sinister attraction becomes the focus. The vampire's scheme is to take away all Rita has in her life and then intervene. He kills her housemate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and weaken her beliefs.
As the story progresses, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This leads to a third act filled with seduction, as mortality and damnation are at stake. The film concludes with a teaser suggesting a possible follow-up, one that might have materialized had the movie performed better. Vampire in Brooklyn made a moderate financial success and got largely critical reception upon release. As years passed, it gained popularity as a cult favorite, with critics later praising Craven’s direction, the spark between the leads, and its sharp blend of horror and comedy. The movie flashes glimpses of genius that might have shone brighter had everyone involved been in agreement on a cohesive approach, rather than producing the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the history of African American scary movies, an overlooked but impactful entry defined by its daring approach and unforgettable performances.
