The director's latest work may have breathed new life into the idea of Black vampires, but the origins of this subgenre trace back to the Blaxploitation era. One of the most memorable pioneering films was the seminal 1972 movie Blacula. In that motion picture, the actor's role is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a caricature, Marshall transformed the part into something regal, giving his figure an historical origin as Mamuwalde, a proud African prince.
Years afterward, the comedic star appeared to draw a cue from Marshall, enriching his own protagonist's lore in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be funny, terrifying, and thought-provoking simultaneously, earning its place in the canon by juggling all three while honoring the subgenre's legacy.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you need a little comedy with your scares this Halloween.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (the actor'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 survival of his undead bloodline with an offspring of his tribe.
The character makes his entrance in New York aboard a ghost ship whose sailors has been inexplicably killed, a nod to Nosferatu. The vessel is discovered by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then witnesses a black wolf leap from the ship, run into an alley, and transform into a man — like the iconic routine from the longer Black or White video. Funky 1970s-inspired soundtrack kicks in, setting the tone for a film that handily balances scares and laughs.
Artistic Goals
Recently after his last installment in the iconic horror series, Craven 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 scary conventions for both comedy and genuine scares). At the same time, Murphy aimed to subvert expectations by venturing into a straight horror based on Dracula lore. The conflict of those artistic aims accounts for the story's detailed beginning of Max's origins and its generally sluggish start. But when the film hits its stride, it unfolds to its strengths — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), brings a procedural element to the story. One of Black cinema’s most acclaimed actresses, Bassett gives a commanding acting with her co-star, a familiar face from the time. In the meantime, Murphy spends the majority of the film with Kadeem Hardison, forming a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his macabre part as his appearance deteriorates throughout the film is a standout moment of how Murphy’s usual bag of tricks elevates the comedy and horror, even when utilized by the cast).
Supernatural Romance
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film reaches its peak — the suspense builds, the fear escalates, 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 disguise himself as a clergyman and weaken her faith.
As the plot unfolds, it becomes more darkly romantic, featuring transformations and revelations of origins. This results in a final section filled with seduction, as mortality and damnation are at stake. The movie ends with a stinger hinting at a possible follow-up, one that might have materialized had the film been more successful. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon release. Over time, it gained popularity as a cult favorite, with reviewers later applauding Craven’s direction, the electric chemistry the leads, and its sharp blend of frights and fun. The film flashes glimpses of genius that could have been more prominent had all participants been in agreement on a cohesive approach, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an underappreciated but impactful entry characterized by its daring approach and memorable acting.
