The director's latest project may have breathed new life into the idea of Black vampires, but the origins of this subgenre trace back to the Blaxploitation era. One of the most memorable pioneering films was the seminal 1972 movie Blacula. In that film, the actor's character is bitten by Dracula and burdened with the insulting name “Blacula.” Originally written as a caricature, the performer elevated the role into something majestic, providing 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 the director's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears 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 funny, terrifying, and thought-provoking simultaneously, securing its place in the canon by juggling all three while honoring the heritage of the category.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you want a dash of humor with your frights this Halloween.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), the vampire lead is drawn to the Big Apple. But instead of 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 offspring of his tribe.
Maximillian arrives in New York on a ghost ship whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by harbor official Silas Green (the comedian) and his relative Julius Jones (the actor), two of the film's funniest characters. The inspector then observes a black wolf jump from the ship, dart into an alley, and morph into a man — reminiscent of the iconic routine from the extended Black or White video. Funky Blaxploitation-style music kicks in, setting the tone for a film that expertly mixes horror and humor.
Creative Visions
Recently after his last installment in the Nightmare on Elm Street series, Craven was eager to break from his horror reputation and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). At the same time, Murphy 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 generally sluggish start. But once the movie clicks into high gear, it unfolds to its strengths — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), adds a procedural element to the narrative. One of African American film's most praised performers, she gives a commanding performance with Payne, a familiar face from the time. Meanwhile, Murphy spends the majority of the film with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius descend further into his ghoulish role as his skin decays throughout the film is a highlight of how Murphy’s usual bag of tricks elevates the comedy and horror, even when utilized by other actors).
Supernatural Romance
When Max and Rita’s paths intertwine and the stars finally share the screen, the film hits its stride — the tension heightens, the scares intensify, and their sinister attraction takes center stage. Max’s plan is to remove all Rita has in her life and then intervene. He murders her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her faith.
As the story unfolds, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This results in a third act filled with temptation, as mortality and damnation hang in the balance. The movie concludes with a teaser suggesting a possible follow-up, one that could have happened had the film performed better. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon release. As years passed, it gained popularity as a cult favorite, with critics later applauding Craven’s direction, the electric chemistry the leads, and its sharp blend of horror and comedy. The film shows moments of brilliance that might have shone brighter had all participants been in agreement on a unified vision, rather than producing the mixed-genre result audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of Black horror, an underappreciated but influential entry defined by its daring approach and memorable acting.
