The director's recent project may have breathed new life into the concept of Black vampires, but the origins of this subgenre trace back to the Blaxploitation era. Among the most memorable early examples was the 1972 classic Blacula. In that film, the actor's role is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall elevated the part into something regal, giving his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw inspiration from Marshall, deepening his own protagonist's lore in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors 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 thought-provoking simultaneously, earning its place in the canon by balancing all three while honoring the heritage of the category.
Debuted three decades back on October 27th, 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.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is pulled to New York City. But rather than traveling from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the survival of his vampire lineage with an offspring of his clan.
Maximillian arrives in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a homage 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 — like the iconic routine from the longer Black or White video. Funky 1970s-inspired soundtrack kicks in, setting the mood for a film that expertly mixes horror and humor.
Directorial Ambitions
Recently after his final entry in the iconic horror series, Craven was keen to move beyond his scary movie image and create 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 wanted to defy assumptions by diving into a pure scary movie rooted in Dracula lore. The clash of those artistic aims explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But once the film clicks into high gear, it opens up to its strengths — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), brings a procedural element to the story. One of Black cinema’s most praised performers, Bassett gives a powerful performance with Payne, a well-known actor from the era. Meanwhile, the lead spends the majority of the film with his comedic partner, 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 appearance deteriorates during the movie is a standout moment of how the star's comedic style elevates the comedy and horror, even when utilized by the cast).
Supernatural Romance
When the two leads meet and Murphy and Bassett finally share the screen, the film hits its stride — the tension heightens, the fear escalates, and their sinister attraction takes center stage. The vampire's scheme is to take away all Rita has in her life and then swoop in. He kills her housemate, drives a wedge 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, including transformations and revelations of origins. This results in a third act packed with seduction, as mortality and damnation are at stake. The film concludes with a stinger suggesting a potential sequel, one that might have materialized had the film performed better. Vampire in Brooklyn made a modest box office return and got mostly negative reviews upon debut. Over time, it gained popularity as a cult favorite, with reviewers later applauding the filmmaker's work, the spark between Murphy and Bassett, and its sharp blend of frights and fun. The film shows moments of brilliance that might have shone brighter had all participants been in agreement on a unified vision, rather than producing the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the canon of African American scary movies, an underappreciated but impactful entry characterized by its daring approach and memorable acting.
