The director's latest project may have breathed new life into the concept of Black vampires, but the roots of this cinematic category date back to the 1970s cultural movement. Among the most iconic early examples was the 1972 classic Blacula. In that film, William Marshall's role is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, Marshall elevated the role into something majestic, giving his character an historical origin as Mamuwalde, a proud African prince.
Decades later, the comedic star appeared to draw inspiration from his predecessor, deepening his own character's mythology in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and thought-provoking simultaneously, earning its position 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.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is drawn to New York City. But instead of journeying from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to find and secure the continuation of his vampire lineage with an heir of his clan.
Maximillian arrives in New York on a ghost ship whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then witnesses a black wolf jump from the ship, dart into an alley, and transform into a human — like the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, setting the tone for a film that handily balances scares and laughs.
Artistic Goals
Fresh off his final entry in the Nightmare on Elm Street series, Craven was keen to break from his scary movie image and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and genuine scares). At the same time, Murphy aimed to defy assumptions by diving into a straight horror based on vampire mythology. The clash of those creative goals accounts for the story's detailed beginning of Max's origins and its generally sluggish start. But once the film clicks into high gear, it unfolds to its assets — 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), brings a crime-drama edge to the story. Among Black cinema’s most praised performers, Bassett delivers a commanding acting with Payne, a well-known actor from the time. Meanwhile, the lead spends the majority of the film with his comedic partner, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Seeing 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 the cast).
Dark Seduction
When the two leads meet and the stars finally share the screen, the film reaches its peak — the tension heightens, the fear escalates, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away all Rita has in her life and then intervene. 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 clergyman and undermine her faith.
As the plot progresses, it becomes increasingly Gothic, including transformations and discoveries of heritage. This leads to a third act packed with temptation, as mortality and damnation hang in the balance. The movie ends with a stinger hinting at a potential sequel, one that could have happened had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon debut. As years passed, it found new life as a beloved classic, with reviewers later applauding the filmmaker's work, the electric chemistry the leads, and its clever mix of horror and comedy. The movie shows glimpses of genius that could have been more prominent had everyone involved been aligned on a unified vision, rather than producing the mixed-genre result audiences received. Still, Vampire in Brooklyn has rightfully earned its place in the history of Black horror, an overlooked but influential film characterized by its bold style and unforgettable performances.
