The director's recent project may have revitalized the concept of Black vampires, but the origins of this subgenre date back to the Blaxploitation era. Among the most iconic pioneering films was the seminal 1972 movie Blacula. In that motion picture, William Marshall's role is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, the performer elevated the role into something regal, giving his character an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy seemed to take a cue from Marshall, deepening his own character's mythology in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, frightening, and thought-provoking all at once, earning its place in the canon by balancing all three while respecting the heritage of the category.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you want a dash of humor with your frights this spooky season.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (the actor's classic from 1988), the vampire lead is pulled to the Big Apple. But instead of 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 tribe.
The character makes his entrance in New York on a ghost ship whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then witnesses a black wolf leap from the ship, run into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the mood for a film that handily balances horror and humor.
Artistic Goals
Recently after his final entry in the iconic horror series, Craven was eager to move beyond his scary movie image and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and real fear). At the same time, the star aimed to subvert expectations by venturing into a straight horror based on vampire mythology. The clash of those artistic aims explains the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But once the film hits its stride, it opens up to its assets — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), brings a crime-drama edge to the story. Among Black cinema’s most praised actresses, Bassett delivers a commanding performance alongside her co-star, a well-known actor from the era. In the meantime, the lead 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. (Watching Julius sink deeper and deeper into his macabre part as his appearance deteriorates during the movie is a standout moment of how the star's comedic style elevates the humor and fear, even when employed by the cast).
Supernatural Romance
When Max and Rita’s paths intertwine and the stars finally share the screen, the movie reaches its peak — the suspense builds, the scares intensify, and their darkly seductive chemistry takes center stage. The vampire's scheme is to remove everything Rita has in her life and then intervene. He murders her roommate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her faith.
As the story progresses, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This results in a final section filled with temptation, as mortality and damnation are at stake. The film ends with a teaser suggesting a potential sequel, one that might have materialized had the film been more successful. Vampire in Brooklyn earned a modest box office return and got mostly negative reviews upon debut. As years passed, it gained popularity as a beloved classic, with critics later praising Craven’s direction, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The film flashes glimpses of genius that could have been more prominent had everyone involved been aligned on a unified vision, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the canon of Black horror, an underappreciated but impactful film defined by its bold style and unforgettable performances.
