The director's latest work may have breathed new life into the concept of African American undead, but the roots of this subgenre date back to the Blaxploitation era. Among the most memorable pioneering films was the 1972 classic Blacula. In that film, William Marshall's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a caricature, Marshall transformed the part into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy seemed to take inspiration from Marshall, enriching his own protagonist's lore in Wes Craven'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 edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, frightening, and thought-provoking simultaneously, earning its place in the hall of fame by balancing all three while respecting 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 essential watch if you want a little comedy with your scares this Halloween.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to New York City. But instead of traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the continuation of his undead bloodline with an heir of his tribe.
The character makes his entrance in New York on a phantom vessel whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then witnesses a black wolf jump from the ship, dart into an alley, and morph into a man — like Michael Jackson's Panther Dance from the longer Black or White video. Groovy Blaxploitation-style music kicks in, establishing the mood for a film that handily balances scares and laughs.
Directorial Ambitions
Fresh off his last installment in the iconic horror series, the director was eager to move beyond his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). Meanwhile, Murphy wanted to defy assumptions by venturing into a straight horror rooted in 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 movie clicks into high gear, it opens up to its strengths — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays detective 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 gives a powerful performance with her co-star, a familiar face from the time. In the meantime, the lead spends the majority of the film with Kadeem Hardison, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his macabre part as his skin decays throughout the film is a highlight of how the star's comedic style elevates the humor and fear, even when employed by the cast).
Dark Seduction
When the two leads meet and the stars appear together, the film hits its stride — the tension heightens, the fear escalates, 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 murders her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her beliefs.
As the story unfolds, it becomes increasingly Gothic, featuring metamorphoses and revelations of origins. This leads to a final section packed with seduction, as mortality and damnation are at stake. The movie concludes with a teaser hinting at a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn earned a moderate financial success and got mostly negative reviews upon release. Over time, it found new life as a beloved classic, with reviewers later applauding the filmmaker's work, the spark between Murphy and Bassett, and its sharp blend of horror and comedy. The movie shows glimpses of genius that might have shone brighter had all participants been aligned on a unified vision, rather than producing the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has rightfully earned its spot in the history of Black horror, an overlooked but impactful entry characterized by its bold style and unforgettable performances.
