The director's latest project may have breathed new life into the concept of Black vampires, but the origins of this subgenre trace back to the 1970s cultural movement. One of the most memorable early examples was the 1972 classic Blacula. In that film, William Marshall's character is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, the performer transformed the part into something majestic, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star appeared to draw 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 persecuted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be humorous, terrifying, and intellectually stimulating all at once, securing its position in the hall of fame by balancing all three while respecting 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 essential watch if you want a little comedy with your frights this spooky season.
A Tale of Two Cities
Like the royal character in Coming to America (Murphy's 1988 masterpiece), the vampire lead is drawn to New York City. But instead of journeying from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, aiming to find and secure the survival of his vampire lineage with an heir of his clan.
Maximillian arrives in New York aboard a phantom vessel whose crew has been inexplicably killed, a nod to Nosferatu. The vessel is found by harbor official Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then observes a black wolf 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. Funky Blaxploitation-style music kicks in, establishing the mood for a film that handily balances scares and laughs.
Creative Visions
Recently after his final entry in the Nightmare on Elm Street series, Craven was keen to move beyond his scary movie image and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and genuine scares). At the same time, Murphy wanted to defy assumptions by diving into a pure scary movie based on vampire mythology. The conflict of those creative goals explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the movie clicks into high gear, it unfolds to its strengths — 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 crime-drama edge to the story. One of African American film's most praised performers, she delivers a commanding acting alongside her co-star, a familiar face from the era. Meanwhile, the lead spends the majority of the film with his comedic partner, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the humor and fear, even when utilized by the cast).
Supernatural Romance
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the movie reaches its peak — the tension heightens, the scares intensify, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away all Rita has in her life and then swoop in. He murders her housemate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and undermine her faith.
As the plot unfolds, it becomes increasingly Gothic, including transformations and revelations of origins. This results in a final section filled with temptation, as mortality and damnation are at stake. The movie ends with a teaser hinting at 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 debut. As years passed, it gained popularity as a cult favorite, with critics later applauding Craven’s direction, the spark between Murphy and Bassett, and its clever mix of horror and comedy. The film flashes moments of brilliance that could have been more prominent 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 place in the canon of Black horror, an underappreciated but influential entry defined by its bold style and memorable acting.
