Ryan Coogler's recent work may have breathed new life into the idea of African American undead, but the roots of this cinematic category trace back to the 1970s cultural movement. One of the most iconic pioneering films was the 1972 classic Blacula. In that film, William Marshall's character is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, the performer elevated the role into something majestic, giving his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw inspiration from Marshall, deepening his own character's mythology in Wes Craven's take on the African American horror niche: 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 Black vampire stories can be funny, terrifying, and thought-provoking all at once, earning its place in the canon by balancing all three while respecting the subgenre's legacy.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you want a little comedy with your scares this Halloween.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), Maximillian is pulled to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline with an offspring of his clan.
The character makes his entrance in New York on a phantom vessel whose crew has been mysteriously slaughtered, a nod to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then witnesses a dark creature leap from the ship, run into an alley, and transform into a human — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music starts, establishing the mood for a film that handily balances scares and laughs.
Creative Visions
Fresh off his final entry in the Nightmare on Elm Street series, the director was eager to break from his scary movie image and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and real fear). At the same time, the star aimed to defy assumptions by venturing into a pure scary movie rooted in vampire mythology. The clash of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the movie clicks into high gear, it opens up to its assets — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), adds a crime-drama edge to the narrative. One of African American film's most acclaimed performers, Bassett gives a commanding performance with her co-star, a familiar face from the time. Meanwhile, Murphy spends the majority of the film with Kadeem Hardison, forming a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his macabre part 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).
Supernatural Romance
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 sinister attraction takes center stage. Max’s plan is to take away all Rita has in her life and then intervene. He kills her roommate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and weaken her faith.
As the story progresses, it becomes more darkly romantic, featuring metamorphoses and discoveries of heritage. This results in a final section filled with temptation, as life and eternal punishment hang in the balance. The film concludes with a teaser hinting at a potential sequel, 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 debut. Over time, it found new life as a beloved classic, with reviewers later applauding the filmmaker's work, the electric chemistry the leads, and its sharp blend of horror and comedy. The film shows glimpses of genius that might have shone brighter had everyone involved been in agreement on a unified vision, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the history of Black horror, an underappreciated but impactful entry characterized by its daring approach and memorable acting.
