Ryan Coogler's recent project may have breathed new life into the concept of Black vampires, but the roots of this cinematic category trace back to the Blaxploitation era. One of the most memorable 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 regal, providing his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy seemed to take inspiration from his predecessor, enriching his own protagonist's lore in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, frightening, and intellectually stimulating simultaneously, securing its place in the canon by balancing all three while respecting the heritage of the category.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you need a dash of humor with your frights this spooky season.
An Urban Vampire Story
Similar to the royal character in Coming to America (Murphy's classic from 1988), Maximillian is pulled to New York City. But instead of traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his vampire lineage with an offspring of his tribe.
Maximillian arrives in New York on a phantom vessel whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship is found by harbor official Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then observes a dark creature leap from the ship, dart into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, establishing the tone 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 create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and real fear). Meanwhile, the star aimed to subvert expectations by diving into a pure scary movie based on Dracula lore. The clash of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the movie clicks into high gear, it unfolds to its assets — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the narrative. Among Black cinema’s most praised performers, Bassett delivers a powerful performance with her co-star, a well-known actor from the era. Meanwhile, Murphy spends most of his screen time with his comedic partner, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his macabre part as his appearance deteriorates during the movie is a standout moment of how the star's comedic style enhances the humor and fear, even when employed by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and the stars appear together, the film hits its stride — the tension heightens, the scares intensify, and their darkly seductive chemistry becomes the focus. Max’s plan is to remove all Rita has in her life and then intervene. He murders her roommate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and weaken her faith.
As the story unfolds, it becomes increasingly Gothic, featuring transformations and revelations of origins. This results in a third act filled with seduction, as life and eternal punishment hang in the balance. The film concludes with a teaser suggesting a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn made a modest box office return and received largely critical reception upon debut. As years passed, it found new life as a cult favorite, with critics later applauding the filmmaker's work, the spark between Murphy and Bassett, and its clever mix of frights and fun. The film flashes glimpses of genius that might have shone brighter had all participants been aligned on a cohesive approach, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an underappreciated but influential film defined by its daring approach and unforgettable performances.
