Ryan Coogler's recent project may have revitalized the idea of African American undead, but the origins of this cinematic category date back to the Blaxploitation era. One of the most memorable pioneering films was the seminal 1972 movie Blacula. In that motion picture, the actor's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall transformed the role into something regal, providing his figure an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy appeared to draw inspiration from his predecessor, deepening his own character's mythology in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, frightening, and thought-provoking simultaneously, securing its position in the hall of fame by juggling all three while honoring the subgenre's legacy.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you need a dash of humor with your scares this spooky season.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (Murphy's classic from 1988), Maximillian is drawn to the Big Apple. But instead of traveling from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, aiming to find and secure the continuation of his vampire lineage with an heir of his clan.
Maximillian arrives in New York aboard a ghost ship whose sailors has been inexplicably killed, a nod to Nosferatu. The ship is discovered by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then witnesses a black wolf leap from the ship, dart into an alley, and morph into a man — like the iconic routine from the longer Black or White video. Groovy 1970s-inspired soundtrack starts, establishing the mood for a film that expertly mixes horror and humor.
Directorial Ambitions
Recently after his last installment in the iconic horror series, the director was eager to move beyond his scary movie image and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and genuine scares). Meanwhile, Murphy wanted to subvert expectations by diving into a straight horror rooted in Dracula lore. The clash of those artistic aims explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the film hits its stride, it unfolds to its assets — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the narrative. One of Black cinema’s most praised actresses, she gives a commanding acting with her co-star, a well-known actor from the time. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, creating a hilarious classic comedy pair as the actor'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 enhances the comedy and horror, even when employed by other actors).
Supernatural Romance
When the two leads meet and the stars appear together, 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 swoop in. He kills her housemate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and undermine her faith.
As the plot unfolds, it becomes more darkly romantic, including metamorphoses and revelations of origins. This results in a final section filled with temptation, as life and eternal punishment are at stake. The movie concludes with a teaser hinting at a potential sequel, one that might have materialized had the film performed better. Vampire in Brooklyn earned a modest box office return and got largely critical reception upon debut. As years passed, it found new life as a beloved classic, with reviewers later praising Craven’s direction, the spark between Murphy and Bassett, and its clever mix of frights and fun. The movie flashes glimpses of genius that could have been more prominent had everyone involved been in agreement on a cohesive approach, rather than producing the mixed-genre result audiences received. Still, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an underappreciated but impactful film characterized by its bold style and unforgettable performances.
