The director's latest work may have breathed new life into the idea of African American undead, but the roots of this subgenre date back to the 1970s cultural movement. Among the most memorable early examples was the seminal 1972 movie Blacula. In that film, the actor's character is bitten by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a stereotype, the performer transformed the part into something regal, giving his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy appeared to draw inspiration from Marshall, 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 ancestors fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, terrifying, and intellectually stimulating all at once, securing its position in the canon by juggling all three while respecting the heritage of the category.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you want a dash of humor with your frights this spooky season.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), Maximillian is drawn to New York City. But rather than traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the survival of his vampire lineage with an heir of his clan.
The character makes his entrance in New York on a phantom vessel whose crew has been inexplicably killed, 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 film's funniest characters. The inspector then observes a dark creature jump from the ship, dart into an alley, and transform into a man — like the iconic routine from the longer Black or White video. Funky Blaxploitation-style music kicks in, establishing the tone for a movie that handily balances scares and laughs.
Artistic Goals
Fresh off his final entry in the Nightmare on Elm Street series, Craven was keen to move beyond his horror reputation and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and real fear). Meanwhile, the star aimed to subvert expectations by venturing into a pure scary movie based on vampire mythology. The conflict of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the movie hits its stride, it opens up to its assets — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), brings a crime-drama edge to the narrative. One of Black cinema’s most praised actresses, she gives a commanding performance alongside Payne, a well-known actor from the era. Meanwhile, the lead spends the majority of the film with his comedic partner, forming a uproarious Abbott-and-Costello-style duo as Hardison’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 elevates the comedy and horror, even when employed by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the movie hits its stride — the tension heightens, the fear escalates, and their sinister attraction becomes the focus. Max’s plan is to remove all Rita has in her life and then swoop in. He murders her roommate, creates conflict between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and weaken her faith.
As the plot progresses, it becomes increasingly Gothic, including transformations and discoveries of heritage. This leads to a final section filled with seduction, as life and eternal punishment are at stake. The film ends with a stinger hinting at a possible follow-up, one that might have materialized had the film been more successful. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon debut. Over time, it gained popularity as a beloved classic, with reviewers later applauding the filmmaker's work, the spark between Murphy and Bassett, and its clever mix of frights and fun. The movie flashes moments of brilliance that might have shone brighter had all participants been aligned on a unified vision, rather than producing the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an overlooked but influential film characterized by its bold style and unforgettable performances.
