The director's recent project may have revitalized the concept of African American undead, but the origins 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 turned by Dracula and cursed with the demeaning name “Blacula.” Originally written as a caricature, Marshall elevated the role into something majestic, providing his character an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy seemed to take a cue from Marshall, enriching his own character's mythology in the director'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 persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, frightening, and thought-provoking all at once, securing its position in the canon by juggling all three while respecting the subgenre's legacy.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you want a dash of humor with your frights this Halloween.
A Tale of Two Cities
Like the royal character in Coming to America (the actor's classic from 1988), Maximillian is pulled to New York City. But rather than journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline with an heir of his clan.
The character makes his entrance in New York on a phantom vessel whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the film's funniest characters. Silas then witnesses a dark creature jump from the ship, run into an alley, and morph into a human — like the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the tone for a film that expertly mixes scares and laughs.
Creative Visions
Recently after his final entry in the iconic horror series, Craven was keen to break from his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and genuine scares). At the same time, the star wanted to subvert expectations by diving into a pure scary movie based on vampire mythology. The clash of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the movie hits its stride, it unfolds to its strengths — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), adds a procedural element to the narrative. One of African American film's most acclaimed performers, Bassett gives a commanding acting alongside Payne, a well-known actor from the time. In the meantime, Murphy spends the majority of the film with Kadeem Hardison, creating a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Watching Julius descend further into his macabre part as his skin decays during the movie is a standout moment of how Murphy’s usual bag of tricks enhances the humor and fear, even when employed by other actors).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the film hits its stride — the tension heightens, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to remove everything Rita has in her life and then swoop in. He kills her housemate, drives a wedge 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 plot progresses, it becomes increasingly Gothic, featuring transformations and discoveries of heritage. This results in a final section filled with temptation, as mortality and damnation are at stake. The film concludes with a stinger suggesting a potential sequel, one that could have happened had the film been more successful. Vampire in Brooklyn made a moderate financial success and received mostly negative reviews upon release. Over time, it gained popularity as a beloved classic, with reviewers later applauding Craven’s direction, the spark between Murphy and Bassett, and its sharp blend of horror and comedy. The film flashes glimpses of genius that might have shone brighter had all participants been in agreement on a cohesive approach, rather than producing the tonal hodgepodge viewers saw. Nevertheless, 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.