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 iconic early examples was the seminal 1972 movie Blacula. In that film, William Marshall's role is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, Marshall transformed the part into something regal, giving his figure an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy seemed to take inspiration from his predecessor, enriching his own protagonist's lore in the director's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears 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, terrifying, and intellectually stimulating simultaneously, securing its place in the hall of fame by balancing all three while honoring the heritage of the category.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you need a dash of humor with your scares this spooky season.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is pulled to the Big Apple. But rather than traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the continuation of his vampire lineage with an heir of his clan.
Maximillian arrives in New York on a phantom vessel whose crew has been inexplicably killed, a homage to Nosferatu. The vessel is discovered by harbor official Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then witnesses a black wolf leap from the ship, run into an alley, and transform into a human — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music kicks in, setting the tone for a movie that expertly mixes horror and humor.
Creative Visions
Fresh off his final entry in the iconic horror series, Craven was keen to move beyond his horror reputation and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and real fear). Meanwhile, the star wanted to defy assumptions by diving into a pure scary movie based on vampire mythology. The clash of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the movie hits its stride, it unfolds to its assets — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), brings a crime-drama edge to the story. Among African American film's most acclaimed actresses, Bassett delivers a commanding performance alongside her co-star, a well-known actor from the time. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, creating a hilarious classic comedy pair 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 during the movie is a highlight of how the star's comedic style enhances the humor and fear, even when utilized by the cast).
Dark Seduction
When the two leads meet and Murphy and Bassett finally share the screen, the movie hits its stride — the suspense builds, the scares intensify, and their sinister attraction takes center stage. Max’s plan is to take away all 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 prosthetics to disguise himself as a preacher and weaken her faith.
As the plot unfolds, it becomes increasingly Gothic, including metamorphoses and discoveries of heritage. This leads to a final section filled with seduction, as mortality and damnation hang in the balance. The film ends with a stinger suggesting a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon debut. Over time, it found new life as a beloved classic, with reviewers later applauding Craven’s direction, the spark between the leads, and its clever mix of horror and comedy. The movie flashes glimpses of genius that could have been more prominent had all participants been aligned on a unified vision, rather than producing the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the history of African American scary movies, an underappreciated but impactful entry characterized by its bold style and memorable acting.
