The director's latest project may have breathed new life into the idea of Black vampires, but the origins of this cinematic category date back to the Blaxploitation era. One of the most memorable early examples was the 1972 classic Blacula. In that motion picture, William Marshall's character is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall elevated the role into something regal, giving his character an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy seemed to take inspiration from Marshall, deepening his own character's mythology in the director's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors escaped 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 humorous, frightening, and intellectually stimulating simultaneously, securing its position in the canon by balancing all three while honoring 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 essential watch 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 (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 mysterious region into Brooklyn, seeking to locate and ensure the survival of his undead bloodline with an heir of his clan.
Maximillian arrives in New York aboard a ghost ship whose crew has been inexplicably killed, 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. Silas then witnesses a black wolf jump from the ship, run into an alley, and transform into a human — like Michael Jackson's Panther Dance from the longer Black or White video. Groovy 1970s-inspired soundtrack starts, setting the tone for a movie that handily balances horror and humor.
Creative Visions
Fresh off his last installment in the Nightmare on Elm Street series, Craven was eager to break from his horror reputation and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and real fear). Meanwhile, the star aimed to defy assumptions by venturing into a pure scary movie based on vampire mythology. The conflict of those artistic aims accounts for the story's detailed beginning 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 police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), brings a procedural element to the story. Among Black cinema’s most acclaimed actresses, Bassett gives a powerful acting with Payne, a well-known actor from the era. In the meantime, Murphy spends most of his screen time with his comedic partner, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his macabre part as his skin decays throughout the film is a standout moment of how the star's comedic style elevates the humor and fear, even when employed by the cast).
Gothic Intrigue
When the two leads meet and Murphy and Bassett appear together, the film reaches its peak — the suspense builds, the scares intensify, and their sinister attraction takes center stage. The vampire's scheme is to take away all Rita has in her life and then intervene. He murders her roommate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and weaken her beliefs.
As the plot progresses, it becomes increasingly Gothic, including metamorphoses and discoveries of heritage. This results in a final section filled with seduction, as life and eternal punishment are at stake. The film ends with a teaser suggesting a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a modest box office return and received mostly negative reviews upon debut. As years passed, it found new life as a beloved classic, with reviewers later applauding the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The movie shows glimpses of genius that might have shone brighter had all participants been aligned on a cohesive approach, rather than producing the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the history of Black horror, an underappreciated but influential film defined by its bold style and unforgettable performances.
