The director's recent project may have revitalized the concept of African American undead, but the origins of this cinematic category trace back to the 1970s cultural movement. Among the most memorable pioneering films was the 1972 classic Blacula. In that film, William Marshall's character is turned by Dracula and cursed with the demeaning name “Blacula.” Originally written as a caricature, 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 inspiration from Marshall, enriching his own protagonist's lore in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, terrifying, and thought-provoking all at once, earning its place in the hall of fame by juggling all three while respecting the heritage of the category.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you want a dash of humor with your frights this spooky season.
A Tale of Two Cities
Like the royal character in Coming to America (the actor's 1988 masterpiece), the vampire lead is drawn to New York City. But instead of journeying from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to find and secure the survival of his undead bloodline with an offspring of his clan.
Maximillian arrives in New York on a phantom vessel whose crew has been inexplicably killed, a homage to Nosferatu. The vessel is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the film's funniest characters. Silas then witnesses a dark creature leap from the ship, dart into an alley, and transform into a man — reminiscent of the iconic routine from the longer Black or White video. Groovy 1970s-inspired soundtrack starts, setting the tone for a movie that handily balances horror and humor.
Artistic Goals
Fresh off his last installment in the Nightmare on Elm Street series, the director was keen to move beyond his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and real fear). Meanwhile, Murphy wanted to defy assumptions by venturing into a pure scary movie rooted in vampire mythology. The conflict of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the movie clicks into high gear, it unfolds to its strengths — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), adds a crime-drama edge to the story. One of Black cinema’s most acclaimed actresses, she delivers a powerful performance with Payne, a well-known actor from the era. Meanwhile, the lead spends most of his screen time with his comedic partner, creating a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his ghoulish role as his appearance deteriorates during the movie is a standout moment of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by other actors).
Dark Seduction
When the two leads meet and the stars finally share the screen, the movie hits its stride — the suspense builds, the fear escalates, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away everything Rita has in her life and then swoop in. He murders her roommate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and weaken her faith.
As the plot progresses, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This results in a final section filled with temptation, as mortality and damnation hang in the balance. The film ends with a teaser hinting at a potential sequel, one that could have happened had the movie performed better. Vampire in Brooklyn earned a moderate financial success and got largely critical reception upon release. As years passed, it found new life as a beloved classic, with critics later praising the filmmaker's work, the spark between the leads, and its sharp blend of frights and fun. The movie flashes moments of brilliance that might have shone brighter had everyone involved been aligned on a unified vision, rather than delivering the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an overlooked but impactful film characterized by its bold style and unforgettable performances.
