The director's latest project may have breathed new life into the idea of Black vampires, but the roots of this cinematic category date back to the 1970s cultural movement. One of the most iconic 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.” Initially conceived as a stereotype, Marshall elevated the part 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 his predecessor, deepening his own protagonist's lore in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be humorous, frightening, and thought-provoking simultaneously, securing its position in the hall of fame by juggling all three while respecting the subgenre's legacy.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you need a little comedy with your scares this spooky season.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is pulled to New York City. But instead of journeying from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the continuation of his undead bloodline with an heir of his clan.
Maximillian arrives in New York on a phantom vessel whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel 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. The inspector then observes a dark creature leap from the ship, dart into an alley, and transform into a man — like the iconic routine from the longer Black or White video. Funky Blaxploitation-style music kicks in, establishing the tone for a movie that handily balances scares and laughs.
Creative Visions
Fresh off his final entry in the iconic horror series, Craven was keen to break from his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and real fear). At the same time, the star wanted to defy assumptions by venturing into a pure scary movie rooted in vampire mythology. The clash of those artistic aims explains the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the film clicks into high gear, it opens up to its assets — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), adds a procedural element to the narrative. One of African American film's most praised performers, Bassett gives a powerful acting with her co-star, a well-known actor from the era. In the meantime, the lead spends most of his screen time with Kadeem Hardison, forming a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his macabre part as his skin decays throughout the film is a highlight of how the star's comedic style elevates the humor and fear, even when employed by other actors).
Supernatural Romance
When the two leads meet and Murphy and Bassett appear together, the movie reaches its peak — the suspense builds, the fear escalates, and their darkly seductive chemistry takes center stage. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He kills her roommate, 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 plot unfolds, it becomes increasingly Gothic, including metamorphoses and revelations of origins. This results in a final section filled with temptation, as life and eternal punishment are at stake. The movie concludes with a stinger suggesting a possible follow-up, one that might have materialized had the movie performed better. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon debut. As years passed, it gained popularity as a cult favorite, with critics later praising the filmmaker's work, the spark between Murphy and Bassett, and its sharp blend of frights and fun. The film shows 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 entry characterized by its daring approach and unforgettable performances.
