The director's recent work may have revitalized the idea of Black vampires, but the roots of this cinematic category date back to the Blaxploitation era. Among the most iconic pioneering films was the seminal 1972 movie Blacula. In that film, the actor's role is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, the performer elevated the role into something majestic, giving his figure an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy seemed to take inspiration from Marshall, deepening his own character's mythology in Wes Craven's interpretation 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 persecuted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be humorous, frightening, and thought-provoking simultaneously, earning its position in the hall of fame by juggling all three while respecting the subgenre's legacy.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you need a little comedy with your scares this spooky season.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (Murphy's classic from 1988), the vampire lead is pulled to the Big Apple. But instead of traveling from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, aiming to locate and ensure the survival of his vampire lineage with an heir of his tribe.
Maximillian arrives in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then witnesses a dark creature jump from the ship, run into an alley, and morph into a man — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Groovy Blaxploitation-style music kicks in, establishing the mood for a movie that handily balances horror and humor.
Artistic Goals
Recently after his last installment in the Nightmare on Elm Street series, the director was keen to break from his horror reputation and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). At the same time, the star wanted to subvert expectations by venturing into a pure scary movie rooted in vampire mythology. The clash of those creative goals accounts for the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But once the film hits its stride, it opens up to its assets — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), adds a crime-drama edge to the narrative. One of Black cinema’s most acclaimed performers, she gives a commanding acting with her co-star, a familiar face from the time. In the meantime, Murphy spends the majority of the film with Kadeem Hardison, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his macabre part as his appearance deteriorates during the movie is a highlight of how the star's comedic style enhances the humor and fear, even when utilized by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the movie hits its stride — the suspense builds, the scares intensify, and their sinister attraction takes center stage. Max’s plan is to take away everything Rita has in her life and then swoop in. He kills her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and undermine her faith.
As the story progresses, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This results in a final section packed with temptation, as mortality and damnation hang in the balance. The movie ends with a stinger suggesting a possible follow-up, one that could have happened had the movie performed better. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon release. As years passed, it gained popularity as a cult favorite, with critics later praising the filmmaker's work, the electric chemistry the leads, and its sharp blend of frights and fun. The film flashes moments of brilliance that might have shone brighter had everyone involved been aligned on a unified vision, rather than delivering the mixed-genre result audiences received. Still, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an underappreciated but influential film defined by its daring approach and memorable acting.
