The director's recent project may have revitalized the concept of African American undead, but the roots of this cinematic category date back to the 1970s cultural movement. Among the most memorable early examples was the seminal 1972 movie Blacula. In that film, William Marshall's character is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall transformed the role into something regal, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy seemed to take inspiration from Marshall, enriching his own character's mythology in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be funny, frightening, and intellectually stimulating all at once, earning its place in the canon by juggling all three while respecting the subgenre's legacy.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you want a dash of humor with your scares this spooky season.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is pulled to the Big Apple. But instead of traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his vampire lineage with an offspring of his clan.
The character makes his entrance in New York on a phantom vessel whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then observes a black wolf jump from the ship, dart into an alley, and morph into a man — like Michael Jackson's Panther Dance from the longer Black or White video. Funky 1970s-inspired soundtrack kicks in, setting the tone for a movie that expertly mixes scares and laughs.
Artistic Goals
Fresh off his final entry in the Nightmare on Elm Street series, Craven was eager to move beyond his horror reputation and make 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 aimed to defy assumptions by diving into a straight horror rooted in vampire mythology. The conflict of those artistic aims explains the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But when the movie clicks into high gear, it opens up to its assets — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), adds a procedural element to the narrative. One of African American film's most acclaimed performers, she gives a commanding acting with Payne, a familiar face from the time. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, forming a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his macabre part as his appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and the stars finally share the screen, the film hits its stride — the suspense builds, the scares intensify, and their sinister attraction takes center stage. The vampire's scheme is to take away all Rita has in her life and then intervene. He kills her roommate, 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 progresses, it becomes increasingly Gothic, featuring metamorphoses and discoveries of heritage. This leads to a final section filled with seduction, as mortality and damnation hang in the balance. The film concludes with a teaser suggesting a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a modest box office return and got largely critical reception upon debut. As years passed, it found new life as a cult favorite, with critics later applauding Craven’s direction, 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 in agreement on a cohesive approach, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an overlooked but impactful film characterized by its bold style and memorable acting.
