The director's latest project may have breathed new life into the concept of Black vampires, but the origins of this cinematic category date back to the 1970s cultural movement. Among the most memorable pioneering films was the 1972 classic Blacula. In that film, the actor's role is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, the performer transformed the role into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy appeared to draw a cue from his predecessor, enriching his own protagonist's lore in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant 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 humorous, terrifying, and intellectually stimulating all at once, securing its place in the canon by juggling all three while honoring the heritage of the category.
Released 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 (Murphy's classic from 1988), the vampire lead is pulled to New York City. But rather than traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the survival of his undead bloodline with an heir of his clan.
Maximillian arrives in New York on a ghost ship whose sailors has been inexplicably killed, a nod to Nosferatu. The vessel 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. Silas then observes a dark creature leap from the ship, run into an alley, and transform into a man — reminiscent of the iconic routine from the longer Black or White video. Funky Blaxploitation-style music kicks in, establishing the tone for a movie that handily balances horror and humor.
Creative Visions
Fresh off his last installment in the Nightmare on Elm Street series, the director 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 exploited scary conventions for both laughs and genuine scares). Meanwhile, Murphy aimed to subvert expectations by venturing into a pure scary movie based on vampire mythology. The clash 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 movie hits its stride, it unfolds to its assets — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), brings a crime-drama edge to the story. Among African American film's most acclaimed actresses, Bassett delivers a powerful performance with her co-star, a well-known actor from the era. In the meantime, the lead spends the majority of the film with his comedic partner, forming a hilarious classic comedy pair as the actor'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 highlight of how Murphy’s usual bag of tricks elevates the comedy and horror, even when employed by other actors).
Supernatural Romance
When Max and Rita’s paths intertwine and the stars appear together, the film reaches its peak — the tension heightens, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He murders her housemate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and weaken her faith.
As the story progresses, it becomes more darkly romantic, including transformations and discoveries of heritage. This results in a third act filled with temptation, as life and eternal punishment hang in the balance. The movie concludes with a teaser hinting at a possible follow-up, one that could have happened had the movie been more successful. Vampire in Brooklyn made a moderate financial success and got largely critical reception upon release. Over time, it gained popularity as a beloved classic, with reviewers later praising the filmmaker's work, the spark between the leads, and its sharp blend of frights and fun. The film shows glimpses of genius that might have shone brighter had all participants been in agreement on a cohesive approach, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an overlooked but impactful film characterized by its bold style and memorable acting.
