The director's recent project may have revitalized the idea of African American undead, but the roots of this subgenre trace back to the 1970s cultural movement. Among the most iconic pioneering films was the seminal 1972 movie Blacula. In that film, William Marshall's character is turned by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, the performer elevated the role into something majestic, providing his figure 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 the director's take on the African American horror niche: Vampire in Brooklyn. Murphy's 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 demonstrates that tales of African American undead can be humorous, frightening, and thought-provoking all at once, earning its position in the hall of fame by balancing all three while honoring the heritage of the category.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you need a little comedy with your scares this Halloween.
A Tale of Two Cities
Like the royal character in Coming to America (the actor's 1988 masterpiece), Maximillian is pulled to the Big Apple. But instead of traveling from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, seeking to locate and ensure the continuation of his undead bloodline with an heir of his tribe.
Maximillian arrives in New York on a phantom vessel whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by harbor official Silas Green (the comedian) and his nephew 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 transform into a man — reminiscent of the iconic routine from the longer Black or White video. Funky Blaxploitation-style music kicks in, establishing the mood for a film that expertly mixes scares and laughs.
Artistic Goals
Recently after his last installment in the iconic horror series, Craven was eager to break from his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and genuine scares). At the same time, the star aimed to subvert expectations by diving into a pure scary movie rooted in vampire mythology. The clash of those creative goals explains the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But once the movie hits its stride, it unfolds to its strengths — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), adds a crime-drama edge to the narrative. Among Black cinema’s most acclaimed actresses, she gives a powerful acting with her co-star, a well-known actor from the era. In the meantime, the lead spends the majority of the film with Kadeem Hardison, creating a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his ghoulish role as his skin decays throughout the film is a standout moment of how the star's comedic style elevates the humor and fear, even when utilized by other actors).
Supernatural Romance
When the two leads meet and the stars finally share the screen, the movie hits its stride — the suspense builds, the fear escalates, and their darkly seductive chemistry takes center stage. Max’s plan is to take away everything Rita has in her life and then intervene. He kills her housemate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and weaken her faith.
As the plot unfolds, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This leads to a third act packed with temptation, as life and eternal punishment are at stake. The film concludes with a stinger suggesting a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a modest box office return and received largely critical reception upon debut. As years passed, it found new life as a cult favorite, with critics later applauding the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of horror and comedy. The film flashes glimpses of genius that could have been more prominent had all participants been aligned on a cohesive approach, rather than delivering the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the history of African American scary movies, an overlooked but influential film characterized by its daring approach and memorable acting.
