The director's latest project may have breathed new life into the concept of Black vampires, but the origins of this subgenre trace back to the Blaxploitation era. One of the most iconic pioneering films 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, the performer elevated the role into something majestic, giving his figure an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star appeared to draw a cue from his predecessor, deepening his own protagonist's lore in the director's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be humorous, frightening, and thought-provoking all at once, earning its position in the hall of fame by juggling all three while honoring the heritage of the category.
Debuted 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 little comedy with your frights this spooky season.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (the actor's classic from 1988), the vampire lead is pulled to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure 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 vessel is discovered 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 transform into a man — reminiscent of the iconic routine from the longer Black or White video. Funky 1970s-inspired soundtrack kicks in, establishing the mood for a film that expertly mixes horror and humor.
Creative Visions
Fresh off his last installment in the iconic horror series, Craven was keen to move beyond his scary movie image and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). Meanwhile, the star wanted to defy assumptions by venturing into a straight horror rooted in Dracula lore. The conflict of those creative goals explains the story's detailed beginning of Max's origins and its generally sluggish start. But when the film clicks into high gear, it unfolds to its assets — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), adds a procedural element to the narrative. One of African American film's most praised performers, she delivers a powerful acting alongside her co-star, a familiar face from the time. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his macabre part as his appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks elevates the humor and fear, even when utilized by other actors).
Supernatural Romance
When Max and Rita’s paths intertwine and the stars finally share the screen, the film reaches its peak — the suspense builds, the scares intensify, and their sinister attraction takes center stage. Max’s plan is to remove all 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 disguise himself as a preacher and weaken her faith.
As the plot progresses, it becomes more darkly romantic, featuring metamorphoses and discoveries of heritage. This results in a third act packed with seduction, as mortality and damnation are at stake. The film ends with a stinger suggesting a potential sequel, one that could have happened had the movie performed better. Vampire in Brooklyn made a moderate financial success and received mostly negative reviews upon debut. Over time, it gained popularity as a beloved classic, with reviewers later applauding Craven’s direction, the spark between the leads, and its sharp blend of frights and fun. The movie shows glimpses of genius that could have been more prominent had everyone involved been aligned on a cohesive approach, rather than delivering the mixed-genre result audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the history of Black horror, an overlooked but influential entry characterized by its bold style and unforgettable performances.
