Ryan Coogler's recent work may have breathed new life into the idea of African American undead, but the origins of this cinematic category date back to the Blaxploitation era. Among the most iconic pioneering films was the 1972 classic Blacula. In that film, William Marshall's role is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, the performer transformed the role into something regal, giving his figure an historical origin as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy appeared to draw a cue 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 descendant of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, frightening, and intellectually stimulating all at once, securing its place in the hall of fame 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 a popular platform, making it an must-see if you need a little comedy with your scares this Halloween.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to New York City. But rather than traveling from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the survival of his vampire lineage with an offspring of his tribe.
The character makes his entrance in New York aboard a ghost ship whose sailors has been inexplicably killed, a nod to Nosferatu. The vessel is discovered by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then observes a dark creature jump from the ship, run into an alley, and transform into a human — like Michael Jackson's Panther Dance from the longer Black or White video. Funky 1970s-inspired soundtrack starts, establishing the tone for a movie that expertly mixes scares and laughs.
Artistic Goals
Recently after his final entry in the Nightmare on Elm Street series, Craven was eager to break from his horror reputation and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and real fear). At the same time, Murphy wanted to subvert expectations by venturing into a pure scary movie based on vampire mythology. The clash of those artistic aims accounts for the story's detailed beginning of Max's origins and its somewhat slow commencement. But once the film clicks into high gear, it opens up to its assets — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), brings a crime-drama edge to the narrative. One of Black cinema’s most acclaimed actresses, she delivers a commanding acting alongside Payne, a familiar face from the era. Meanwhile, 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 Max’s undead lackey. (Watching Julius sink deeper and deeper into his macabre part as his skin decays throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the humor and fear, even when employed by the cast).
Gothic Intrigue
When the two leads meet and Murphy and Bassett appear together, the movie reaches its peak — the tension heightens, the scares intensify, 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 murders her roommate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and undermine her beliefs.
As the story progresses, it becomes increasingly Gothic, including metamorphoses and revelations of origins. This leads to a final section packed with seduction, as life and eternal punishment hang in the balance. The film concludes with a teaser suggesting a potential sequel, one that could have happened had the movie performed better. Vampire in Brooklyn earned a modest box office return and got largely critical reception upon release. As years passed, it gained popularity as a beloved classic, with reviewers later applauding the filmmaker's work, the spark between the leads, and its sharp blend of frights and fun. The film flashes moments of brilliance that could have been more prominent had all participants been aligned on a unified vision, rather than producing the mixed-genre result audiences received. Still, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an underappreciated but impactful film defined by its daring approach and unforgettable performances.
