Ryan Coogler's recent work may have revitalized the idea of African American undead, but the origins of this subgenre date back to the Blaxploitation era. Among the most memorable pioneering films was the seminal 1972 movie Blacula. In that motion picture, William Marshall's character is turned by Dracula and cursed with the demeaning name “Blacula.” Originally written as a caricature, Marshall elevated the part into something majestic, giving his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy seemed to take inspiration from his predecessor, enriching his own protagonist's lore in Wes Craven's take on the African American horror niche: 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, frightening, and thought-provoking simultaneously, securing its place in the canon by juggling all three while respecting 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 must-see if you need a dash of humor with your frights this Halloween.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to the Big Apple. But rather than traveling from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, seeking to find and secure the survival of his vampire lineage with an offspring of his clan.
Maximillian arrives in New York aboard a phantom vessel whose crew has been inexplicably killed, a homage to Nosferatu. The vessel is found by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then observes a dark creature leap from the ship, run into an alley, and morph into a man — like Michael Jackson's Panther Dance from the longer Black or White video. Funky Blaxploitation-style music starts, setting the mood for a movie that expertly mixes scares and laughs.
Creative Visions
Recently after his final entry in the Nightmare on Elm Street series, the director was keen to break from his scary movie image and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and real fear). Meanwhile, Murphy wanted to defy assumptions by diving into a straight horror based on vampire mythology. The clash of those creative goals explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the movie clicks into high gear, it opens up to its strengths — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the story. Among Black cinema’s most praised performers, she delivers a commanding acting with her co-star, a familiar face from the time. Meanwhile, Murphy spends most of his screen time with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates during the movie is a standout moment of how Murphy’s usual bag of tricks elevates the humor and fear, even when employed by other actors).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the film hits its stride — the suspense builds, the fear escalates, 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 in between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her faith.
As the story progresses, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This results in a final section packed with temptation, as mortality and damnation hang in the balance. The film ends with a teaser 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 gained popularity as a beloved classic, with reviewers later praising the filmmaker's work, the spark between the leads, and its clever mix of frights and fun. The movie flashes 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. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the history of African American scary movies, an overlooked but influential entry characterized by its bold style and memorable acting.
