The director's latest project may have revitalized the idea of African American undead, but the roots of this subgenre trace back to the 1970s cultural movement. One of the most iconic pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's role is turned by Dracula and burdened with the demeaning name “Blacula.” Originally written 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, Eddie Murphy appeared to draw inspiration from his predecessor, enriching his own character's mythology in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors fled 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 intellectually stimulating simultaneously, earning its place in the hall of fame by juggling all three while respecting the subgenre's legacy.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you need a little comedy with your frights this spooky season.
A Tale of Two Cities
Like Prince Akeem 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 emerges from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the continuation of his vampire lineage with an offspring of his clan.
The character makes his entrance in New York aboard a phantom vessel whose crew has been mysteriously slaughtered, a homage to Nosferatu. The vessel is discovered by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then observes a dark creature jump from the ship, dart into an alley, and transform into a man — like Michael Jackson's Panther Dance from the longer Black or White video. Groovy Blaxploitation-style music kicks in, establishing the mood for a film that expertly mixes horror and humor.
Directorial Ambitions
Fresh off his final entry in the Nightmare on Elm Street series, the director was keen to break from his scary movie image and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and genuine scares). Meanwhile, the star wanted to defy assumptions by diving into a straight horror rooted in Dracula lore. The clash of those creative goals explains the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But once the film clicks into high gear, it opens up to its assets — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), brings a procedural element to the narrative. One of African American film's most acclaimed actresses, Bassett gives a commanding acting with Payne, a well-known actor from the time. Meanwhile, Murphy spends the majority of the film with Kadeem Hardison, forming 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 standout moment of how the star's comedic style enhances the humor and fear, even when employed by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and the stars appear together, the movie hits its stride — the suspense builds, the scares intensify, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then swoop in. 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 weaken her beliefs.
As the plot progresses, it becomes more darkly romantic, featuring transformations and revelations of origins. This results in a final section filled with temptation, as life and eternal punishment hang in the balance. The film ends with a teaser hinting at a possible follow-up, one that could have happened had the film been more successful. Vampire in Brooklyn made a moderate financial success and got mostly negative reviews upon debut. Over time, it gained popularity as a beloved classic, with reviewers later praising the filmmaker's work, the spark between Murphy and Bassett, and its clever mix of frights and fun. The movie flashes moments of brilliance that could have been more prominent had everyone involved 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 underappreciated but influential film defined by its daring approach and memorable acting.
