The director's recent project may have revitalized the concept of African American undead, but the roots of this subgenre trace back to the 1970s cultural movement. One of the most memorable pioneering films was the seminal 1972 movie Blacula. In that film, the actor's role is bitten by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall transformed the part into something majestic, giving his character an historical origin as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy seemed to take inspiration from his predecessor, enriching his own protagonist's lore in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be humorous, frightening, and intellectually stimulating all at once, securing its position in the canon by balancing all three while honoring the heritage of the category.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you need a dash of humor with your scares this spooky season.
An Urban Vampire Story
Like Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is pulled to New York City. But instead of traveling from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, seeking to locate and ensure the continuation of his vampire lineage with an offspring of his tribe.
The character makes his entrance in New York on a ghost ship whose crew has been inexplicably killed, a homage to Nosferatu. The vessel is discovered by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the film's funniest characters. The inspector then witnesses a dark creature leap from the ship, run 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 film that expertly mixes horror and humor.
Directorial Ambitions
Fresh off his final entry in the Nightmare on Elm Street series, Craven was eager to move beyond his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). At the same time, the star wanted to subvert expectations by venturing into a straight horror rooted in vampire mythology. The conflict of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the movie hits its stride, it unfolds to its strengths — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the narrative. Among African American film's most acclaimed performers, she gives a powerful performance with Payne, a well-known actor from the time. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, creating a uproarious classic comedy pair as Hardison’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 the star's comedic style elevates the comedy and horror, even when employed by the cast).
Dark Seduction
When the two leads meet and the stars finally share the screen, the film reaches its peak — the tension heightens, the scares intensify, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He murders her roommate, creates conflict in 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 metamorphoses and discoveries of heritage. This results in a final section filled with seduction, as life and eternal punishment hang in the balance. The film concludes with a teaser hinting at a possible follow-up, one that could have happened had the movie performed better. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon debut. As years passed, it gained popularity as a cult favorite, with critics later praising Craven’s direction, the spark between the leads, and its clever mix of frights and fun. The movie shows 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 place in the history of African American scary movies, an underappreciated but influential film characterized by its daring approach and memorable acting.
