The director's recent project may have revitalized the concept of African American undead, but the roots of this subgenre trace back to the 1970s cultural movement. Among the most iconic early examples was the 1972 classic Blacula. In that film, the actor's character is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, the performer transformed the role into something regal, giving his figure an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy seemed to take a cue from Marshall, deepening his own protagonist's lore in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be humorous, terrifying, and thought-provoking all at once, securing its place in the hall of fame by juggling all three while honoring the heritage of the category.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you need a dash of humor with your scares this spooky season.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is drawn to the Big Apple. But instead of journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the survival of his undead bloodline with an offspring of his clan.
Maximillian arrives in New York aboard a phantom vessel whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel is found by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. Silas then observes a dark creature leap from the ship, dart into an alley, and transform into a human — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Funky Blaxploitation-style music starts, setting the tone for a film that expertly mixes horror and humor.
Directorial Ambitions
Fresh off his last installment in the iconic horror series, the director was eager to move beyond his horror reputation and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and real fear). At the same time, the star wanted to defy assumptions by diving into a straight horror based on Dracula lore. The conflict of those artistic aims accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But once the movie clicks into high gear, it unfolds to its assets — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), adds a procedural element to the narrative. One of Black cinema’s most praised actresses, she delivers a commanding performance alongside her co-star, a well-known actor from the time. In the meantime, the lead spends the majority of the film with his comedic partner, creating a hilarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his macabre part as his skin decays during the movie is a highlight of how the star's comedic style enhances the comedy and horror, even when employed by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the film hits its stride — the suspense builds, the fear escalates, and their sinister attraction becomes the focus. The vampire's scheme is to take away all Rita has in her life and then swoop in. He murders her roommate, creates conflict 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 story progresses, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This leads to a third act filled with seduction, as life and eternal punishment hang in the balance. The movie concludes with a stinger hinting at a potential sequel, one that could have happened had the movie performed better. Vampire in Brooklyn earned a modest box office return and got mostly negative reviews upon release. Over time, it found new life as a cult favorite, with reviewers later applauding Craven’s direction, the spark between Murphy and Bassett, and its sharp blend of horror and comedy. The film flashes glimpses of genius that could have been more prominent had all participants been aligned on a unified vision, rather than producing the mixed-genre result audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an overlooked but influential entry characterized by its bold style and memorable acting.
