The director's latest work may have breathed new life into the idea of African American undead, but the roots of this cinematic category date back to the 1970s cultural movement. One of the most iconic early examples was the seminal 1972 movie Blacula. In that motion picture, the actor's character is turned by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, the performer elevated the role into something majestic, giving his figure an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star appeared to draw a cue from his predecessor, deepening his own protagonist's lore in the director's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be humorous, frightening, and thought-provoking simultaneously, securing its position in the hall of fame by balancing all three while honoring the heritage of the category.
Released three decades back on Oct. 27, 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 frights this Halloween.
A Tale of Two Cities
Like the royal character in Coming to America (the actor's 1988 masterpiece), the vampire lead is drawn to New York City. But instead of traveling from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the survival of his undead bloodline with an offspring of his clan.
Maximillian arrives in New York aboard a phantom vessel whose sailors has been inexplicably killed, a nod to Nosferatu. The vessel is discovered by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a black wolf leap from the ship, run into an alley, and morph into a human — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Funky Blaxploitation-style music starts, setting the tone for a movie that handily balances horror and humor.
Artistic Goals
Recently after his last installment in the Nightmare on Elm Street series, Craven was keen to move beyond his scary movie image and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and real fear). Meanwhile, Murphy aimed to defy assumptions by venturing into a straight horror based on vampire mythology. The clash of those creative goals accounts for 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 strengths — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), brings a procedural element to the narrative. One of African American film's most praised actresses, Bassett gives a powerful performance alongside Payne, a well-known actor from the time. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, forming 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 the star's comedic style enhances the humor and fear, even when utilized by other actors).
Gothic Intrigue
When the two leads meet and Murphy and Bassett appear together, the movie reaches its peak — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. Max’s plan is to take away all Rita has in her life and then intervene. He murders her roommate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and undermine her faith.
As the plot progresses, it becomes increasingly Gothic, featuring metamorphoses and revelations of origins. This results in a third act packed with temptation, as mortality and damnation are at stake. The movie ends with a teaser suggesting a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a modest box office return and received largely critical reception upon release. As years passed, it gained popularity as a beloved classic, with critics later applauding Craven’s direction, the spark between Murphy and Bassett, and its clever mix of horror and comedy. The movie flashes moments of brilliance that could have been more prominent had everyone involved been in agreement on a cohesive approach, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the history of Black horror, an underappreciated but influential film defined by its bold style and unforgettable performances.
