The director's recent work may have breathed new life into the idea of African American undead, but the roots of this cinematic category trace back to the 1970s cultural movement. Among the most memorable early examples was the seminal 1972 movie Blacula. In that motion picture, William Marshall's role is bitten by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a caricature, Marshall elevated the part into something majestic, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw a cue from Marshall, deepening his own protagonist's lore in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be funny, terrifying, and thought-provoking all at once, securing its position in the hall of fame by balancing all three while honoring the subgenre's legacy.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you need a dash of humor with your frights this Halloween.
A Tale of Two Cities
Similar to the royal character in Coming to America (Murphy's 1988 masterpiece), the vampire lead is pulled to the Big Apple. But instead of journeying from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, aiming to find and secure the survival of his undead bloodline with an offspring of his tribe.
Maximillian arrives in New York aboard a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The vessel is found by harbor official 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, run into an alley, and morph into a man — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music starts, setting the mood for a movie that expertly mixes scares and laughs.
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 blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and real fear). At the same time, Murphy aimed to subvert expectations by diving into a straight horror rooted in Dracula lore. The clash of those creative goals accounts for the story's detailed beginning of Max's origins and its generally sluggish start. But when the film clicks into high gear, it opens up to its assets — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), brings a crime-drama edge to the narrative. Among African American film's most acclaimed performers, Bassett gives a commanding performance with Payne, a well-known actor from the era. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates throughout the film is a highlight of how the star's comedic style elevates the humor and fear, even when employed by other actors).
Supernatural Romance
When the two leads meet and Murphy and Bassett appear together, the movie 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 swoop in. He murders her roommate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and undermine her faith.
As the story unfolds, it becomes more darkly romantic, featuring metamorphoses and discoveries of heritage. This leads to a third act filled with seduction, as mortality and damnation hang in the balance. The film concludes with a stinger hinting at a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn made a modest box office return and got largely critical reception upon release. As years passed, it gained popularity as a beloved classic, with reviewers later praising Craven’s direction, the spark between the leads, and its clever mix of frights and fun. The movie flashes moments of brilliance that could have been more prominent had all participants been in agreement on a unified vision, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its place in the history of Black horror, an overlooked but influential entry characterized by its daring approach and unforgettable performances.
