The director's latest work may have revitalized the concept of Black vampires, but the origins of this subgenre date back to the 1970s cultural movement. Among the most iconic early examples was the 1972 classic Blacula. In that motion picture, William Marshall's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a stereotype, Marshall transformed the role into something regal, providing his character an historical origin as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy appeared to draw inspiration from Marshall, enriching his own protagonist's lore in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, terrifying, and intellectually stimulating all at once, securing its position in the canon by juggling all three while respecting the heritage of the category.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you need a little comedy with your scares this Halloween.
From Zamunda to Brooklyn
Like the royal character in Coming to America (the actor's classic from 1988), Maximillian is pulled to the Big Apple. But rather than journeying from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, aiming to locate and ensure the survival of his undead bloodline with an heir of his clan.
The character makes his entrance in New York aboard a ghost ship whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then observes a black wolf jump from the ship, dart into an alley, and transform into a human — like Michael Jackson's Panther Dance from the extended Black or White video. Funky Blaxploitation-style music starts, establishing the tone for a film that handily balances horror and humor.
Directorial Ambitions
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 laughs and genuine scares). At the same time, the star wanted to subvert expectations by venturing into a pure scary movie rooted in vampire mythology. The clash of those creative goals explains the story's detailed beginning 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 diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), adds a procedural element to the narrative. Among Black cinema’s most praised performers, Bassett gives a powerful performance with her co-star, a well-known actor from the time. In the meantime, Murphy spends the majority of the film with Kadeem Hardison, forming 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 skin decays during the movie is a standout moment of how the star's comedic style enhances the humor and fear, even when utilized by the cast).
Supernatural Romance
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the film hits its stride — the tension heightens, the fear escalates, and their sinister attraction becomes the focus. The vampire's scheme is to remove everything Rita has in her life and then swoop in. He kills her roommate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her faith.
As the story progresses, it becomes increasingly Gothic, featuring metamorphoses and revelations of origins. This results in a third act filled with temptation, as mortality and damnation are at stake. The film ends with a teaser suggesting a possible follow-up, one that could have happened had the film performed better. Vampire in Brooklyn made a modest box office return and got mostly negative reviews upon debut. Over time, it found new life as a cult favorite, with critics later applauding the filmmaker's work, the electric chemistry the leads, and its clever mix of frights and fun. The movie flashes moments of brilliance that could have been more prominent had all participants been in agreement on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has rightfully earned its spot in the history of Black horror, an overlooked but influential film characterized by its bold style and memorable acting.
