The director's latest project may have breathed new life into the concept of African American undead, but the origins of this cinematic category date back to the 1970s cultural movement. One of the most memorable pioneering films was the seminal 1972 movie Blacula. In that motion picture, William Marshall's role is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, the performer elevated the role into something regal, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, the comedic star appeared to draw a cue from Marshall, enriching 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 fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, terrifying, and thought-provoking simultaneously, securing its place 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 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 (the actor's classic from 1988), Maximillian is drawn to the Big Apple. But instead of journeying from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to locate and ensure the survival of his vampire lineage with an heir of his clan.
The character makes his entrance in New York aboard a phantom vessel whose crew 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 film's funniest characters. Silas then observes a black wolf leap from the ship, run into an alley, and transform into a human — reminiscent of the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music kicks in, setting the mood for a film that handily balances horror and humor.
Directorial Ambitions
Fresh off his final entry in the iconic horror series, the director was eager 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 genuine scares). Meanwhile, the star aimed to subvert expectations by diving into a pure scary movie based on vampire mythology. The conflict of those artistic aims accounts for the film's exposition-heavy opening of the protagonist's backstory 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 partner and love interest, detective Justice (the actor), adds a crime-drama edge to the narrative. Among Black cinema’s most praised performers, Bassett delivers a commanding performance with Payne, a familiar face from the era. In the meantime, the lead spends most of his screen time with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his ghoulish role as his appearance deteriorates during the movie is a highlight of how Murphy’s usual bag of tricks elevates the comedy and horror, even when utilized by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and the stars appear together, the film reaches its peak — the suspense builds, the scares intensify, and their darkly seductive chemistry takes center stage. Max’s plan is to remove all Rita has in her life and then swoop in. He kills her housemate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and weaken her beliefs.
As the plot unfolds, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This results in a final section packed with seduction, as life and eternal punishment hang in the balance. The film concludes with a teaser suggesting a possible follow-up, one that could have happened had the film performed better. Vampire in Brooklyn made a moderate financial success and got mostly negative reviews upon debut. Over time, it found new life as a beloved classic, with critics later praising the filmmaker's work, the electric chemistry the leads, and its sharp blend of frights and fun. The movie flashes moments of brilliance that could have been more prominent had all participants been aligned on a unified vision, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of Black horror, an underappreciated but impactful entry characterized by its daring approach and unforgettable performances.
