The director's recent work may have breathed new life into the idea of African American undead, but the roots of this subgenre trace back to the Blaxploitation era. Among the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, the actor's role is bitten by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a stereotype, the performer elevated 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 inspiration from his predecessor, enriching his own character's mythology in Wes Craven's take on the Black vampire subgenre: 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 funny, frightening, and thought-provoking simultaneously, earning its place in the hall of fame by balancing all three while respecting the heritage of the category.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you need a dash of humor with your scares this spooky season.
From Zamunda to Brooklyn
Like the royal character in Coming to America (the actor's 1988 masterpiece), Maximillian is drawn to New York City. But rather than traveling from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, aiming to locate and ensure the survival of his undead bloodline with an offspring of his tribe.
The character makes his entrance in New York aboard a phantom vessel whose crew has been mysteriously slaughtered, a nod to Nosferatu. The vessel is discovered by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then observes a black wolf jump from the ship, dart into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Groovy Blaxploitation-style music kicks in, setting the mood for a movie that expertly mixes scares and laughs.
Directorial Ambitions
Recently after his last installment in the iconic horror series, the director was eager to move beyond his scary movie image and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and real fear). At the same time, Murphy aimed to subvert expectations by diving into a pure scary movie based on Dracula lore. The conflict of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the film clicks into high gear, it unfolds to its assets — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), brings a procedural element to the story. One of African American film's most praised performers, she gives a commanding performance alongside her co-star, a well-known actor from the era. In the meantime, Murphy spends the majority of the film with Kadeem Hardison, creating a hilarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his macabre part as his skin decays throughout the film is a highlight of how the star's comedic style enhances the comedy and horror, even when utilized by other actors).
Supernatural Romance
When the two leads meet and the stars appear together, the movie reaches its peak — the suspense builds, the fear escalates, and their sinister attraction becomes the focus. Max’s plan is to take away everything Rita has in her life and then intervene. 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 preacher and weaken her faith.
As the story progresses, it becomes increasingly Gothic, including transformations and discoveries of heritage. This leads to a final section packed with seduction, as mortality and damnation are at stake. The film concludes with a teaser suggesting 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 found new life as a beloved classic, with reviewers later applauding Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The movie flashes glimpses of genius that might have shone brighter had everyone involved been in agreement on a unified vision, rather than producing the mixed-genre result audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the history of Black horror, an overlooked but impactful film defined by its daring approach and memorable acting.
