The director's latest work may have revitalized the concept of Black vampires, but the origins of this subgenre date back to the Blaxploitation era. One of the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, the actor's character is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, the performer elevated the role into something regal, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw a cue from Marshall, enriching his own protagonist's lore in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's 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 demonstrates that tales of African American undead can be humorous, frightening, and intellectually stimulating simultaneously, securing its position in the canon by balancing all three while honoring the heritage of the category.
Debuted three decades back on October 27th, 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 Halloween.
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 rather than traveling from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, seeking to locate and ensure the survival of his undead bloodline with an heir of his clan.
Maximillian arrives in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The vessel is found by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a dark creature jump from the ship, dart into an alley, and morph into a human — like Michael Jackson's Panther Dance from the longer Black or White video. Funky 1970s-inspired soundtrack starts, establishing the mood for a film that expertly mixes scares and laughs.
Creative Visions
Fresh off his last installment in the Nightmare on Elm Street series, the director was eager to break from his scary movie image and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and genuine scares). Meanwhile, the star aimed to subvert expectations by venturing into a pure scary movie based on vampire mythology. The conflict of those artistic aims explains the film's exposition-heavy opening of Max's origins and its generally sluggish start. 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 colleague and romantic lead, detective Justice (Allen Payne), adds a crime-drama edge to the story. One of African American film's most praised actresses, Bassett delivers a powerful performance alongside Payne, a familiar face from the era. In the meantime, the lead spends most of his screen time with Kadeem Hardison, creating a uproarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his macabre part as his appearance deteriorates throughout the film is a standout moment of how the star's comedic style elevates the comedy and horror, even when utilized by other actors).
Dark Seduction
When the two leads meet and the stars appear together, the film hits its stride — the tension heightens, the fear escalates, and their sinister attraction becomes the focus. Max’s plan is to remove everything Rita has in her life and then swoop in. He kills her housemate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and undermine her beliefs.
As the plot unfolds, it becomes more darkly romantic, featuring transformations and revelations of origins. This leads to a final section filled with seduction, as life and eternal punishment hang in the balance. The movie concludes with a stinger suggesting a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a modest box office return and received largely critical reception upon debut. As years passed, it found new life as a beloved classic, with critics later applauding Craven’s direction, the electric chemistry the leads, and its clever mix of horror and comedy. The film flashes glimpses of genius that might have shone brighter had everyone involved been in agreement on a unified vision, rather than delivering the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the canon of African American scary movies, an underappreciated but impactful entry characterized by its bold style and memorable acting.
