Ryan Coogler's recent project may have revitalized the concept of Black vampires, but the roots of this cinematic category trace back to the Blaxploitation era. Among the most iconic pioneering films was the seminal 1972 movie Blacula. In that motion picture, William Marshall's character is bitten by Dracula and cursed with the insulting name “Blacula.” Originally written as a stereotype, Marshall transformed the role into something regal, providing his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy seemed to take a cue from his predecessor, deepening his own character's mythology in the director's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and intellectually stimulating simultaneously, securing its place in the canon 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 a popular platform, making it an essential watch if you need a little comedy with your scares this Halloween.
A Tale of Two Cities
Like Prince Akeem in Coming to America (the actor's classic from 1988), the vampire lead is drawn to New York City. But instead of journeying from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the survival of his undead bloodline with an heir of his clan.
The character makes his entrance in New York aboard a phantom vessel whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then observes a black wolf jump from the ship, dart into an alley, and transform into a man — reminiscent of the iconic routine from the extended Black or White video. Funky 1970s-inspired soundtrack starts, establishing the tone for a movie that expertly mixes scares and laughs.
Artistic Goals
Fresh off his final entry in the iconic horror series, Craven was keen to break from his scary movie image and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and real fear). Meanwhile, Murphy wanted to defy assumptions by diving into a straight horror based on vampire mythology. The clash of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the movie clicks into high gear, it unfolds to its strengths — like its eclectic cast.
The acclaimed actress, 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. Among African American film's most praised performers, Bassett gives a commanding acting with her co-star, a familiar face from the era. In the meantime, Murphy spends most of his screen time with his comedic partner, creating a uproarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his ghoulish role as his skin decays during the movie is a standout moment of how the star's comedic style elevates the humor and fear, even when employed by the cast).
Supernatural Romance
When the two leads meet and the stars finally share the screen, the film reaches its peak — the tension heightens, the fear escalates, and their sinister attraction becomes the focus. The vampire's scheme is to take away all Rita has in her life and then swoop in. He murders her roommate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and weaken her beliefs.
As the plot progresses, it becomes increasingly Gothic, featuring transformations and revelations of origins. This leads to a third act filled with seduction, as life and eternal punishment are at stake. The movie concludes with a stinger suggesting a potential sequel, one that could have happened had the film been more successful. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon debut. Over time, it found new life as a beloved classic, with reviewers later applauding Craven’s direction, the electric chemistry Murphy and Bassett, and its clever mix of horror and comedy. The film flashes moments of brilliance that could have been more prominent had all participants been aligned on a cohesive approach, rather than producing the mixed-genre result audiences received. Still, Vampire in Brooklyn has rightfully earned its place in the canon of African American scary movies, an overlooked but impactful entry characterized by its daring approach and memorable acting.
