The director's latest project may have revitalized the concept of African American undead, but the origins of this subgenre date back to the Blaxploitation era. Among the most iconic pioneering films was the seminal 1972 movie Blacula. In that motion picture, William Marshall's character is turned by Dracula and burdened 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 proud African prince.
Years afterward, the comedic star seemed to take inspiration from Marshall, deepening his own protagonist's lore in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be funny, terrifying, and thought-provoking all at once, securing its place in the hall of fame by juggling all three while honoring the subgenre's legacy.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you need a dash of humor with your scares this spooky season.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), Maximillian is drawn to the Big Apple. But rather than traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure the continuation of his vampire lineage with an offspring of his tribe.
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 (the comedian) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then witnesses a dark creature jump from the ship, run into an alley, and transform into a man — like Michael Jackson's Panther Dance from the extended Black or White video. Funky 1970s-inspired soundtrack kicks in, setting the tone for a film that handily balances horror and humor.
Directorial Ambitions
Fresh off his final entry in the Nightmare on Elm Street series, Craven was keen to move beyond his horror reputation and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and real fear). Meanwhile, the star wanted to subvert expectations by diving into a pure scary movie rooted in vampire mythology. The clash of those creative goals accounts for the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But once the film hits its stride, it opens up to its assets — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), brings a crime-drama edge to the story. One of Black cinema’s most praised performers, she gives a powerful acting alongside Payne, a familiar face from the era. In the meantime, the lead spends the majority of the film with Kadeem Hardison, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his ghoulish role 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 the cast).
Supernatural Romance
When the two leads meet and the stars finally share the screen, the movie hits its stride — the suspense builds, the scares intensify, and their darkly seductive chemistry takes center stage. The vampire's scheme is to remove all Rita has in her life and then swoop in. He kills her roommate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and undermine her beliefs.
As the plot progresses, it becomes increasingly Gothic, including transformations and revelations of origins. This leads to a final section packed with seduction, as mortality and damnation are at stake. The movie ends with a teaser suggesting a potential sequel, one that could have happened had the movie been more successful. Vampire in Brooklyn made a moderate financial success and got mostly negative reviews upon debut. As years passed, it found new life as a beloved classic, with critics later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of horror and comedy. The film flashes glimpses of genius that could have been more prominent had all participants been in agreement on a cohesive approach, rather than delivering the mixed-genre result audiences received. Still, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an overlooked but impactful film characterized by its daring approach and unforgettable performances.
