The director's latest project may have breathed new life into the idea of Black vampires, but the roots of this subgenre date back to the Blaxploitation era. Among the most memorable early examples was the seminal 1972 movie Blacula. In that motion picture, William Marshall's role is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a stereotype, the performer transformed the part into something majestic, giving his character an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star seemed to take a cue from Marshall, enriching his own character's mythology in the director's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be humorous, frightening, and thought-provoking all at once, securing its place in the hall of fame 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 essential watch if you want a little comedy with your scares this Halloween.
From Zamunda to Brooklyn
Like the royal character in Coming to America (the actor's classic from 1988), the vampire lead is pulled to New York City. But instead of traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the survival of his vampire lineage with an offspring of his tribe.
The character makes his entrance in New York aboard a phantom vessel whose sailors has been inexplicably killed, a nod to Nosferatu. The vessel is found by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then observes a dark creature jump from the ship, run into an alley, and morph into a human — reminiscent of the iconic routine from the extended Black or White video. Groovy Blaxploitation-style music kicks in, establishing the mood for a movie that expertly mixes scares and laughs.
Directorial Ambitions
Fresh off his last installment in the Nightmare on Elm Street series, the director was keen to break from his horror reputation and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). At the same time, Murphy aimed to defy assumptions by venturing into a pure scary movie based on Dracula lore. The conflict of those creative goals explains 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 assets — 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 procedural element to the story. One of Black cinema’s most praised actresses, she delivers a commanding acting with her co-star, a well-known actor from the time. Meanwhile, the lead spends most of his screen time 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 skin decays throughout the film is a highlight of how the star's comedic style elevates the comedy and horror, even when employed by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the movie reaches its peak — the suspense builds, the fear escalates, and their sinister attraction takes center stage. Max’s plan is to remove everything Rita has in her life and then intervene. He kills her roommate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and undermine her faith.
As the plot progresses, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This results in a final section filled with seduction, as mortality and damnation hang in the balance. The movie ends with a stinger hinting at a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon release. Over time, it found new life as a beloved classic, with critics later applauding Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of horror and comedy. The movie flashes glimpses of genius that could have been more prominent had everyone involved been in agreement on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has deservedly secured its spot in the canon of African American scary movies, an underappreciated but impactful film characterized by its bold style and memorable acting.
