The director's latest project may have breathed new life into the concept of African American undead, but the origins of this cinematic category trace back to the 1970s cultural movement. Among the most memorable pioneering films was the 1972 classic Blacula. In that film, the actor's role is bitten by Dracula and cursed with the insulting name “Blacula.” Originally written as a stereotype, the performer transformed the part into something majestic, giving his character an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy seemed to take a cue from his predecessor, enriching his own character's mythology in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears escaped 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 30 years ago 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 scares this Halloween.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), Maximillian is pulled to the Big Apple. But rather than journeying 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 clan.
Maximillian arrives in New York on a phantom vessel whose crew has been mysteriously slaughtered, a homage to Nosferatu. The vessel is found by harbor official Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then witnesses a black wolf jump from the ship, run into an alley, and transform into a human — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the mood for a film that expertly mixes horror and humor.
Artistic Goals
Recently after his last installment in the Nightmare on Elm Street series, the director was eager to break from his horror reputation and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). Meanwhile, Murphy wanted to defy assumptions by venturing into a pure scary movie based on Dracula lore. The clash of those artistic aims accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But once the movie hits its stride, it unfolds to its assets — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), brings a crime-drama edge to the narrative. Among Black cinema’s most praised actresses, Bassett gives a commanding performance with her co-star, a well-known actor from the time. Meanwhile, the lead spends most of his screen time with his comedic partner, forming a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his ghoulish role as his appearance deteriorates throughout the film is a standout moment of how Murphy’s usual bag of tricks elevates the humor and fear, even when utilized by other actors).
Dark Seduction
When Max and Rita’s paths intertwine 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 remove all Rita has in her life and then swoop in. He murders her housemate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her faith.
As the plot unfolds, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This results in a third act packed with seduction, as life and eternal punishment are at stake. The movie ends with a teaser hinting at a potential sequel, one that could have happened had the film been more successful. Vampire in Brooklyn earned a modest box office return and received largely critical reception upon release. As years passed, it gained popularity as a cult favorite, with critics later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The movie shows moments of brilliance that might have shone brighter had everyone involved been in agreement on a unified vision, rather than delivering the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an underappreciated but influential film characterized by its bold style and memorable acting.
