The director's latest project may have breathed new life into the concept of African American undead, but the origins of this subgenre trace back to the 1970s cultural movement. One of the most iconic pioneering films was the 1972 classic Blacula. In that motion picture, the actor's role is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, the performer elevated the role into something majestic, providing his figure an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy seemed to take inspiration from Marshall, deepening his own character's mythology in the director's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be humorous, terrifying, and thought-provoking simultaneously, earning its place in the hall of fame by balancing all three while respecting the subgenre's legacy.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you want a dash of humor with your scares this Halloween.
An Urban Vampire Story
Like Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is drawn 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 offspring of his tribe.
The character makes his entrance in New York on a ghost ship whose sailors has been inexplicably killed, a homage to Nosferatu. The vessel is discovered by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then witnesses a black wolf jump from the ship, run into an alley, and transform into a human — reminiscent of the iconic routine from the longer Black or White video. Funky 1970s-inspired soundtrack starts, setting the mood for a film that handily balances scares and laughs.
Directorial Ambitions
Fresh off his final entry in the iconic horror series, the director was eager to break from his scary movie image and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and real fear). At the same time, the star wanted to defy assumptions by diving into a pure scary movie rooted in Dracula lore. The conflict of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the movie clicks into high gear, it unfolds to its strengths — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), adds a crime-drama edge to the narrative. One of African American film's most acclaimed performers, she gives a commanding acting with her co-star, a well-known actor from the era. Meanwhile, the lead spends the majority of the film with his comedic partner, creating a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his macabre part as his appearance deteriorates throughout the film is a standout moment of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the movie 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 swoop in. He murders her roommate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and weaken her faith.
As the story unfolds, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This results in a final section filled with temptation, as life and eternal punishment are at stake. The movie ends with a teaser suggesting a possible follow-up, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a moderate financial success and got largely critical reception upon debut. As years passed, it gained popularity as a cult favorite, with reviewers later applauding Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The movie flashes glimpses of genius that might have shone brighter had everyone involved been in agreement on a cohesive approach, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the history of African American scary movies, an overlooked but impactful entry characterized by its daring approach and memorable acting.
