The director's latest work may have breathed new life into the concept of African American undead, but the origins of this cinematic category trace back to the Blaxploitation era. Among the most memorable pioneering films was the seminal 1972 movie Blacula. In that film, the actor's role is turned by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a stereotype, the performer elevated the role into something regal, providing his figure an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy seemed to take a cue from his predecessor, enriching his own character's mythology in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant 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 thought-provoking all at once, securing its place in the hall of fame by balancing all three while honoring the heritage of the category.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you need a dash of humor with your scares this spooky season.
From Zamunda to Brooklyn
Like the royal character in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to the Big Apple. But instead of journeying from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure the continuation of his undead bloodline with an heir of his tribe.
Maximillian arrives in New York on a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The ship is found by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then witnesses a black wolf leap from the ship, run into an alley, and transform into a human — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Groovy Blaxploitation-style music kicks in, establishing the tone for a movie that expertly mixes horror and humor.
Artistic Goals
Recently after his last installment in the iconic horror series, Craven was eager to move beyond his horror reputation 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). Meanwhile, Murphy wanted to defy assumptions by diving into a straight horror based on Dracula lore. The clash of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But once the film hits its stride, it unfolds to its assets — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), adds a procedural element to the story. One of African American film's most acclaimed performers, she delivers a powerful performance alongside Payne, a familiar face from the era. Meanwhile, the lead spends the majority of the film with his comedic partner, creating a uproarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates throughout the film is a highlight of how the star's comedic style elevates the comedy and horror, even when employed by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and the stars finally share the screen, the movie reaches its peak — the tension heightens, the fear escalates, and their sinister attraction takes center stage. Max’s plan is to remove everything Rita has in her life and then intervene. He kills her roommate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and undermine her faith.
As the story progresses, it becomes increasingly Gothic, featuring transformations and discoveries of heritage. This results in a final section packed with temptation, as mortality and damnation hang in the balance. The movie concludes with a teaser suggesting a potential sequel, one that could have happened had the movie been more successful. Vampire in Brooklyn made a modest box office return and got mostly negative reviews upon debut. As years passed, it found new life as a cult favorite, with reviewers later praising Craven’s direction, the spark between the leads, and its clever mix of frights and fun. The film shows moments of brilliance that might have shone brighter had everyone involved been in agreement on a unified vision, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an underappreciated but impactful entry characterized by its bold style and memorable acting.
