The director's recent work may have revitalized the idea of African American undead, but the roots of this subgenre date back to the Blaxploitation era. One of the most iconic pioneering films was the seminal 1972 movie Blacula. In that motion picture, the actor's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a caricature, the performer transformed the part 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 Marshall, enriching his own protagonist's lore in Wes Craven's interpretation 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 persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, frightening, and intellectually stimulating simultaneously, securing its position in the canon by juggling all three while respecting the heritage of the category.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you want a little comedy with your frights this spooky season.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (Murphy's classic from 1988), the vampire lead is pulled to New York City. But instead of traveling from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, seeking to locate and ensure the continuation of his vampire lineage with an offspring of his tribe.
The character makes his entrance in New York aboard a phantom vessel whose crew has been inexplicably killed, a nod to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then observes a dark creature jump from the ship, dart into an alley, and transform into a human — reminiscent of the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, setting the tone for a movie that handily balances scares and laughs.
Creative Visions
Recently after his final entry in the iconic horror series, the director was keen to move beyond his horror reputation and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). Meanwhile, Murphy wanted to subvert expectations by diving into a straight horror based on vampire mythology. The clash of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the movie hits its stride, it unfolds to its strengths — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), brings a crime-drama edge to the story. One of African American film's most praised actresses, Bassett gives a powerful performance with Payne, a familiar face from the time. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his ghoulish role as his skin decays during the movie is a highlight of how Murphy’s usual bag of tricks elevates the humor and fear, even when employed by other actors).
Gothic Intrigue
When Max and Rita’s paths intertwine and the stars finally share the screen, the film hits its stride — the suspense builds, the fear escalates, and their sinister attraction takes center stage. The vampire's scheme is to remove everything Rita has in her life and then intervene. He kills her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and undermine her beliefs.
As the story unfolds, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This leads to a third act filled with seduction, as mortality and damnation are at stake. The movie ends with a stinger hinting at 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 largely critical reception upon debut. As years passed, it gained popularity as a cult favorite, with critics later applauding the filmmaker's work, the electric chemistry the leads, and its sharp blend of horror and comedy. The film shows moments of brilliance that could have been more prominent had all participants been in agreement on a unified vision, rather than delivering the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an overlooked but impactful entry characterized by its bold style and unforgettable performances.
