The director's latest work may have breathed new life into the concept of African American undead, but the origins of this subgenre date back to the 1970s cultural movement. One of the most memorable pioneering films was the seminal 1972 movie Blacula. In that motion picture, the actor's role is bitten by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a caricature, Marshall elevated the part into something regal, giving his character an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star appeared to draw inspiration from his predecessor, deepening his own protagonist's lore in the director's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears 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, terrifying, and thought-provoking simultaneously, earning its place in the canon by juggling all three while respecting the heritage of the category.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you want a dash of humor with your scares this Halloween.
An Urban Vampire Story
Like the royal character in Coming to America (Murphy's 1988 masterpiece), the vampire lead is drawn to the Big Apple. But instead of journeying from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, aiming to find and secure the survival of his vampire lineage with an offspring of his clan.
Maximillian arrives in New York aboard a phantom vessel whose crew has been inexplicably killed, a nod to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then observes a black wolf jump from the ship, run into an alley, and transform into a human — like the iconic routine from the extended Black or White video. Groovy Blaxploitation-style music starts, establishing the tone for a film that handily balances horror and humor.
Directorial Ambitions
Recently after his final entry in the Nightmare on Elm Street series, the director was eager to move beyond his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). Meanwhile, Murphy wanted to defy assumptions by venturing into a straight horror rooted in Dracula lore. The clash of those artistic aims accounts for the story's detailed beginning of Max's origins and its somewhat slow commencement. But when the film clicks into high gear, it unfolds to its strengths — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the narrative. Among African American film's most acclaimed actresses, Bassett delivers a powerful acting with her co-star, a familiar face from the time. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, creating a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius descend further into his macabre part 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).
Supernatural Romance
When the two leads meet and the stars finally share the screen, the film hits its stride — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. Max’s plan is to remove everything 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 faith.
As the plot progresses, it becomes more darkly romantic, featuring metamorphoses and discoveries of heritage. This leads to a final section packed with seduction, as mortality and damnation hang in the balance. The film concludes with a stinger hinting at a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and got mostly negative reviews upon release. As years passed, it gained popularity as a cult favorite, with critics later applauding Craven’s direction, the spark between the leads, and its clever mix of frights and fun. The movie shows glimpses of genius that could have been more prominent had everyone involved been in agreement on a cohesive approach, rather than delivering the mixed-genre result audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the history of African American scary movies, an overlooked but influential entry defined by its bold style and unforgettable performances.
