The director's latest project may have breathed new life into the idea of African American undead, but the origins of this subgenre date back to the Blaxploitation era. One of the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's character is turned by Dracula and burdened with the insulting name “Blacula.” Originally written as a stereotype, the performer transformed the part into something regal, providing his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star seemed to take a cue from his predecessor, deepening 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 ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be funny, frightening, and thought-provoking all at once, securing its position in the hall of fame by juggling all three while honoring the subgenre's legacy.
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 need a dash of humor with your frights this spooky season.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to New York City. But rather than traveling from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the continuation of his undead bloodline with an offspring of his clan.
Maximillian arrives in New York aboard a ghost ship whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The vessel is found by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then witnesses a black wolf jump from the ship, run into an alley, and morph into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Funky Blaxploitation-style music kicks in, setting the tone for a film that handily balances scares and laughs.
Creative Visions
Recently after his last installment in the iconic horror series, Craven was keen to break from his scary movie image and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and real fear). At the same time, Murphy aimed to defy assumptions by diving into a pure scary movie 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 when the movie hits its stride, it unfolds to its strengths — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), adds a crime-drama edge to the story. One of Black cinema’s most acclaimed performers, Bassett delivers a commanding performance with Payne, a well-known actor from the time. Meanwhile, the lead spends most of his screen time with his comedic partner, forming a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius descend further into his ghoulish role as his skin decays throughout the film is a standout moment of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by other actors).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film hits its stride — 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 kills her roommate, creates conflict in between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and weaken her beliefs.
As the story progresses, it becomes more darkly romantic, featuring metamorphoses and discoveries of heritage. This results in a third act packed with temptation, as mortality and damnation are at stake. The movie concludes 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 moderate financial success and received mostly negative reviews upon release. As years passed, it gained popularity as a beloved classic, with critics later praising 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 aligned on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the history of African American scary movies, an overlooked but influential entry characterized by its daring approach and unforgettable performances.
