Ryan Coogler's latest work may have breathed new life into the idea of Black vampires, but the origins of this cinematic category date back to the Blaxploitation era. Among the most memorable early examples was the 1972 classic 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 role into something regal, providing his character an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy appeared to draw inspiration from his predecessor, enriching his own character's mythology 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 tales of African American undead can be humorous, frightening, and thought-provoking simultaneously, earning its place in the canon by juggling all three while honoring the heritage of the category.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you want a dash of humor with your frights this spooky season.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is pulled to the Big Apple. But instead of traveling from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the continuation of his vampire lineage with an offspring of his clan.
The character makes his entrance in New York aboard a ghost ship whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then observes 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 longer Black or White video. Funky Blaxploitation-style music starts, establishing the mood for a movie that expertly mixes scares and laughs.
Artistic Goals
Fresh off his last installment in the iconic horror series, Craven was keen to break from his horror reputation and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and real fear). At the same time, Murphy wanted to defy assumptions by diving into a straight horror based on vampire mythology. The conflict of those artistic aims explains the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But once the film hits its stride, it opens up to its assets — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), adds a procedural element to the story. Among Black cinema’s most praised actresses, she delivers a commanding performance alongside Payne, a well-known actor from the time. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his macabre part as his skin decays throughout the film is a highlight of how the star's comedic style enhances the humor and fear, even when employed by other actors).
Dark Seduction
When the two leads meet and Murphy and Bassett appear together, the film hits its stride — the tension heightens, the scares intensify, and their sinister attraction becomes the focus. Max’s plan is to remove all Rita has in her life and then intervene. He murders her housemate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her faith.
As the story unfolds, it becomes more darkly romantic, featuring transformations and revelations of origins. This leads to a final section filled with temptation, as life and eternal punishment are at stake. The movie concludes with a teaser hinting at a potential sequel, one that might have materialized had the film been more successful. Vampire in Brooklyn earned a moderate financial success and got largely critical reception upon debut. Over time, it gained popularity as a beloved classic, with critics later praising Craven’s direction, the electric chemistry the leads, and its clever mix of frights and fun. The movie shows moments of brilliance that could have been more prominent had everyone involved been aligned on a cohesive approach, rather than producing the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an underappreciated but impactful film characterized by its bold style and unforgettable performances.
