The director's recent work may have revitalized the idea of Black vampires, but the origins of this cinematic category date back to the 1970s cultural movement. Among the most iconic early examples was the seminal 1972 movie Blacula. In that motion picture, the actor's character is turned by Dracula and cursed with the demeaning name “Blacula.” Originally written as a caricature, the performer elevated the part into something majestic, providing his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy appeared to draw inspiration from his predecessor, deepening his own character's mythology in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, terrifying, and intellectually stimulating simultaneously, earning its position in the hall of fame by juggling all three while respecting the subgenre's legacy.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you need a little comedy with your scares this spooky season.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is pulled to New York City. But instead of journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his undead bloodline with an offspring of his clan.
The character makes his entrance in New York aboard a phantom vessel whose crew has been inexplicably killed, a homage to Nosferatu. The ship is found by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then witnesses a black wolf leap from the ship, dart into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Groovy Blaxploitation-style music kicks in, establishing the mood for a movie that expertly mixes horror and humor.
Creative Visions
Recently after his last installment in the Nightmare on Elm Street series, the director was keen to break from his horror reputation and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and real fear). At the same time, Murphy aimed to subvert expectations by diving into a pure scary movie based on Dracula lore. The conflict of those artistic aims accounts for the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But once the film clicks into high gear, it opens up to its assets — like its eclectic cast.
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 narrative. One of African American film's most praised actresses, Bassett gives a commanding performance with Payne, a familiar face from the time. Meanwhile, Murphy spends the majority of the film with Kadeem Hardison, forming a uproarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his ghoulish role as his skin decays during the movie is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when employed by the cast).
Dark Seduction
When the two leads meet and Murphy and Bassett finally share the screen, the film reaches its peak — the tension heightens, the fear escalates, and their sinister attraction becomes the focus. Max’s plan is to take away all 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 prosthetics to disguise himself as a preacher and weaken her faith.
As the story progresses, it becomes more darkly romantic, featuring metamorphoses and discoveries of heritage. This leads to a final section filled with temptation, as mortality and damnation are at stake. The movie concludes with a stinger hinting at a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a modest box office return and received mostly negative reviews upon debut. Over time, it gained popularity as a cult favorite, with critics later applauding Craven’s direction, the electric chemistry Murphy and Bassett, and its clever mix of horror and comedy. The film flashes moments of brilliance that might have shone brighter had all participants been aligned on a cohesive approach, rather than delivering the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the history of African American scary movies, an overlooked but influential film characterized by its daring approach and unforgettable performances.
