The director's recent project may have revitalized the idea of African American undead, but the roots of this subgenre trace back to the Blaxploitation era. One of the most memorable early examples was the 1972 classic Blacula. In that motion picture, William Marshall's role is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a caricature, the performer transformed the part into something majestic, providing his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy appeared to draw inspiration from Marshall, deepening his own protagonist's lore in Wes Craven's take 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 demonstrates that Black vampire stories can be funny, frightening, and thought-provoking all at once, securing its place in the canon by juggling all three while honoring 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 essential watch if you want a little comedy with your frights this Halloween.
From Zamunda to Brooklyn
Like the royal character in Coming to America (the actor's 1988 masterpiece), the vampire lead is drawn to the Big Apple. But instead of traveling from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, aiming to find and secure the continuation of his vampire lineage with an offspring of his clan.
The character makes his entrance in New York on a phantom vessel whose crew has been mysteriously slaughtered, a nod to Nosferatu. The ship is discovered by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. The inspector then witnesses a black wolf leap from the ship, run into an alley, and transform into a human — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Funky 1970s-inspired soundtrack starts, setting the mood for a film that expertly mixes scares and laughs.
Directorial Ambitions
Fresh off his last installment in the iconic horror series, Craven was eager to break from his scary movie image and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and genuine scares). At the same time, the star wanted to subvert expectations by venturing into a pure scary movie based on vampire mythology. The conflict of those artistic aims explains the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the movie clicks into high gear, it unfolds to its strengths — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), adds a procedural element to the story. Among Black cinema’s most praised performers, Bassett gives a commanding acting with her co-star, a well-known actor from the era. In the meantime, Murphy spends the majority of the film with Kadeem Hardison, forming a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his macabre part as his appearance deteriorates throughout the film is a highlight of how the star's comedic style enhances the comedy and horror, even when utilized by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the movie reaches its peak — the tension heightens, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to remove all Rita has in her life and then intervene. He kills her housemate, creates conflict between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and undermine her beliefs.
As the plot unfolds, it becomes more darkly romantic, including transformations and revelations of origins. This leads to a third act packed with seduction, as life and eternal punishment are at stake. The movie concludes with a teaser hinting at 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 praising the filmmaker's work, the spark between the leads, and its clever mix of frights and fun. The movie flashes moments of brilliance that might have shone brighter had all participants been aligned on a cohesive approach, rather than producing the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the history of African American scary movies, an overlooked but impactful entry characterized by its bold style and unforgettable performances.
