The director's latest work may have breathed new life into the concept of Black vampires, but the roots of this cinematic category trace back to the 1970s cultural movement. One of the most memorable early examples was the seminal 1972 movie Blacula. In that motion picture, the actor's character is turned by Dracula and burdened with the demeaning name “Blacula.” Originally written as a stereotype, Marshall elevated the role into something majestic, giving his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy appeared to draw inspiration from Marshall, deepening his own character's mythology in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, terrifying, and intellectually stimulating all at once, earning its place in the hall of fame by balancing all three while honoring the subgenre's legacy.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you need a little comedy with your scares this Halloween.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to New York City. But rather than traveling from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline with an heir of his tribe.
The character makes his entrance in New York on a phantom vessel whose crew has been inexplicably killed, a nod to Nosferatu. The ship is found by harbor official Silas Green (John Witherspoon) 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 man — reminiscent of the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, setting the tone for a movie that expertly mixes scares and laughs.
Creative Visions
Fresh off his final entry in the iconic horror series, Craven was keen to move beyond his scary movie image and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). At the same time, Murphy aimed to defy assumptions by diving into a pure scary movie rooted in Dracula lore. The conflict of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the movie hits its stride, it opens up to its assets — like its eclectic cast.
Angela Bassett, 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 narrative. Among African American film's most acclaimed actresses, she gives a powerful acting alongside her co-star, a familiar face from the era. In the meantime, the lead spends the majority of the film with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius descend further into his macabre part as his skin decays throughout the film is a highlight of how the star's comedic style enhances the humor and fear, even when employed by other actors).
Gothic Intrigue
When Max and Rita’s paths intertwine and the stars appear together, the film hits its stride — the tension heightens, the fear escalates, and their sinister attraction becomes the focus. The vampire's scheme is to remove all Rita has in her life and then swoop in. He murders her roommate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and weaken her faith.
As the story progresses, it becomes increasingly Gothic, featuring metamorphoses and discoveries of heritage. This results in a final section filled with temptation, as mortality and damnation hang in the balance. The movie concludes with a teaser hinting at a potential sequel, one that might have materialized had the film been more successful. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon release. As years passed, it found new life as a cult favorite, with critics later applauding Craven’s direction, the electric chemistry the leads, and its clever mix of frights and fun. The film flashes moments of brilliance that might have shone brighter had everyone involved been aligned on a cohesive approach, rather than producing the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the history of Black horror, an underappreciated but impactful film defined by its bold style and memorable acting.
