The director's latest work may have revitalized the idea 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 motion picture, William Marshall's role is bitten by Dracula and burdened with the insulting name “Blacula.” Originally written as a stereotype, the performer elevated the role into something regal, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy seemed to take a cue from his predecessor, enriching his own protagonist's lore in the director'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 demonstrates that Black vampire stories can be funny, terrifying, and thought-provoking all at once, securing its position in the hall of fame by balancing all three while respecting the heritage of the category.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you need a dash of humor with your scares this spooky season.
An Urban Vampire Story
Similar to the royal character in Coming to America (the actor's classic from 1988), Maximillian is drawn to the Big Apple. But instead of traveling from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, aiming to find and secure the survival of his undead bloodline with an offspring of his clan.
The character makes his entrance in New York on a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The vessel is found by harbor official Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then witnesses a dark creature jump from the ship, dart into an alley, and transform into a man — like Michael Jackson's Panther Dance from the longer Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the tone for a film that expertly mixes scares and laughs.
Directorial Ambitions
Recently after his final entry in the Nightmare on Elm Street series, Craven was keen to move beyond his horror reputation and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). Meanwhile, the star aimed to defy assumptions by venturing into a pure scary movie rooted in Dracula lore. The conflict of those artistic aims explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But once the movie hits its stride, it opens up to its assets — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), brings a crime-drama edge to the story. One of African American film's most praised actresses, she delivers a commanding acting alongside Payne, a familiar face from the era. Meanwhile, Murphy spends most of his screen time with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Watching Julius descend further into his ghoulish role as his skin decays during the movie is a highlight of how Murphy’s usual bag of tricks enhances the humor and fear, even when employed by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and the stars appear together, the movie reaches its peak — the tension heightens, the scares intensify, and their sinister attraction takes center stage. The vampire's scheme is to remove all Rita has in her life and then swoop in. He kills her roommate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her faith.
As the story progresses, it becomes increasingly Gothic, featuring transformations and revelations of origins. This results in a third act filled with temptation, as life and eternal punishment are at stake. The movie concludes with a teaser suggesting a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn made a modest box office return and got mostly negative reviews upon debut. As years passed, it gained popularity as a beloved classic, with critics later praising Craven’s direction, the spark between Murphy and Bassett, and its sharp blend of horror and comedy. The film shows glimpses of genius that might have shone brighter had everyone involved been aligned on a cohesive approach, rather than delivering the mixed-genre result audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of Black horror, an underappreciated but impactful entry characterized by its bold style and unforgettable performances.
