The director's recent project may have breathed new life into the concept of African American undead, but the roots of this subgenre date back to the Blaxploitation era. Among the most memorable early examples was the seminal 1972 movie Blacula. In that film, William Marshall's role is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, Marshall elevated the role into something regal, giving his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star seemed to take inspiration from Marshall, enriching his own protagonist's lore in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors escaped 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, frightening, and intellectually stimulating simultaneously, securing its position in the hall of fame by juggling all three while respecting the heritage of the category.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you want a little comedy with your scares this Halloween.
From Zamunda to Brooklyn
Like the royal character in Coming to America (Murphy's classic from 1988), the vampire lead is drawn to New York City. But rather than journeying from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the survival of his vampire lineage with an heir of his clan.
Maximillian arrives in New York aboard a ghost ship whose sailors has been inexplicably killed, a nod to Nosferatu. The ship is found by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then witnesses a black wolf leap from the ship, dart into an alley, and morph into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music starts, establishing the mood for a movie that handily balances horror and humor.
Artistic Goals
Recently after his last installment in the Nightmare on Elm Street series, Craven was eager to move beyond his scary movie image and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and real fear). At the same time, Murphy aimed to defy assumptions by venturing into a pure scary movie rooted in vampire mythology. The clash of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the movie hits its stride, it opens up to its strengths — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), brings a crime-drama edge to the narrative. One of African American film's most acclaimed actresses, Bassett delivers a commanding acting alongside her co-star, a familiar face from the time. In the meantime, Murphy spends the majority of the film with his comedic partner, forming a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates during the movie is a standout moment of how Murphy’s usual bag of tricks elevates the comedy and horror, even when utilized by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film hits its stride — the tension heightens, the fear escalates, and their darkly seductive chemistry becomes the focus. Max’s plan is to remove all Rita has in her life and then swoop in. He murders her housemate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and weaken her beliefs.
As the story unfolds, it becomes more darkly romantic, including transformations and discoveries of heritage. This results in a third act packed with temptation, as mortality and damnation hang in the balance. The film concludes with a stinger suggesting a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn made a moderate financial success and received mostly negative reviews upon debut. As years passed, it gained popularity as a beloved classic, with reviewers later applauding the filmmaker's work, the electric chemistry the leads, and its clever mix of frights and fun. The film shows moments of brilliance that could have been more prominent had all participants been in agreement on a unified vision, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an underappreciated but influential film characterized by its daring approach and memorable acting.
