The director's latest project 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. One of the most memorable early examples was the 1972 classic Blacula. In that motion picture, William Marshall's character is bitten by Dracula and cursed with the insulting name “Blacula.” Originally written as a stereotype, Marshall transformed the part into something majestic, giving his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, the comedic star seemed to take a cue from his predecessor, deepening his own character's mythology in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears 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 humorous, frightening, and intellectually stimulating simultaneously, earning its position in the canon by juggling all three while respecting the subgenre's legacy.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you need a dash of humor with your scares this Halloween.
An Urban Vampire Story
Like the royal character in Coming to America (the actor's classic from 1988), Maximillian is pulled to the Big Apple. But instead of traveling from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, seeking to locate and ensure the survival of his vampire lineage with an offspring of his clan.
The character makes his entrance in New York on a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (the comedian) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then witnesses a dark creature leap 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. Funky 1970s-inspired soundtrack kicks in, establishing the mood for a movie that handily balances scares and laughs.
Directorial Ambitions
Fresh off his last installment in the Nightmare on Elm Street series, the director was eager to break from his scary movie image and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and genuine scares). Meanwhile, Murphy wanted to subvert expectations by venturing into a straight horror rooted in Dracula lore. The clash of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But once the film hits its stride, it unfolds to its strengths — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the story. One of Black cinema’s most praised actresses, Bassett delivers a powerful performance with Payne, a well-known actor from the era. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, forming a uproarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his macabre part as his appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by other actors).
Gothic Intrigue
When the two leads meet and Murphy and Bassett appear together, the film hits its stride — the tension heightens, the scares intensify, and their darkly seductive chemistry takes center stage. 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 preacher and undermine her beliefs.
As the plot unfolds, it becomes increasingly Gothic, featuring metamorphoses and discoveries of heritage. This results in a third act filled with seduction, as life and eternal punishment hang in the balance. The movie concludes with a teaser suggesting a possible follow-up, one that could have happened had the movie performed better. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon debut. As years passed, it found new life as a beloved classic, with critics later praising Craven’s direction, the spark between Murphy and Bassett, and its sharp blend of horror and comedy. The movie shows glimpses of genius that could have been more prominent had all participants been aligned on a unified vision, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its spot in the history of African American scary movies, an underappreciated but impactful film defined by its bold style and unforgettable performances.
