The director's recent work may have breathed new life into the idea of African American undead, but the roots of this subgenre trace back to the Blaxploitation era. One of the most iconic pioneering films was the seminal 1972 movie Blacula. In that film, William Marshall's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, the performer elevated the part into something majestic, providing his character an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy appeared to draw a cue from Marshall, enriching his own character's mythology in the director's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's 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 Black vampire stories can be funny, frightening, and intellectually stimulating simultaneously, earning its position in the canon by balancing all three while respecting the subgenre's legacy.
Debuted 30 years ago on October 27th, 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 (the actor's classic from 1988), Maximillian is pulled to the Big Apple. But instead of traveling from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, aiming to locate and ensure the continuation of his vampire lineage with an offspring of his tribe.
Maximillian arrives in New York aboard a ghost ship whose crew has been inexplicably killed, a homage to Nosferatu. The ship is discovered by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then observes a dark creature leap from the ship, dart into an alley, and morph into a human — like Michael Jackson's Panther Dance from the longer Black or White video. Groovy Blaxploitation-style music kicks in, setting the mood for a movie that expertly mixes horror and humor.
Creative Visions
Recently after his final entry in the iconic horror series, Craven was keen to break from his horror reputation and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and genuine scares). Meanwhile, the star aimed to defy assumptions by diving into a straight horror rooted in vampire mythology. The clash of those creative goals accounts for the story's detailed beginning of Max's origins and its generally sluggish start. But when the movie hits its stride, it unfolds 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 (the actor), adds a procedural element to the story. Among Black cinema’s most praised actresses, Bassett delivers a commanding performance alongside Payne, a well-known actor from the time. In the meantime, Murphy spends the majority of the film with Kadeem Hardison, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Seeing 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 humor and fear, even when utilized by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and the stars appear together, the film reaches its peak — the suspense builds, the scares intensify, and their darkly seductive chemistry takes center stage. The vampire's scheme is to take away all Rita has in her life and then intervene. He kills her housemate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and weaken her beliefs.
As the story progresses, it becomes more darkly romantic, including metamorphoses and revelations of origins. This results in a final section packed with temptation, as mortality and damnation hang in the balance. The film ends with a teaser suggesting a possible follow-up, one that could have happened had the movie performed better. Vampire in Brooklyn made a moderate financial success and got largely critical reception upon debut. Over time, it gained popularity as a cult favorite, with critics later applauding Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of horror and comedy. The movie flashes moments of brilliance that might have shone brighter had all participants been in agreement on a unified vision, rather than producing the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the history of African American scary movies, an underappreciated but impactful film characterized by its daring approach and unforgettable performances.
