The director's latest work may have revitalized the idea of Black vampires, but the roots of this cinematic category date back to the Blaxploitation era. Among the most iconic pioneering films was the seminal 1972 movie Blacula. In that film, William Marshall's character is bitten by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a caricature, the performer elevated the role into something majestic, giving his character an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star seemed to take a cue from Marshall, deepening his own protagonist's lore in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be humorous, frightening, and thought-provoking simultaneously, earning its place in the hall of fame by juggling all three while honoring the subgenre's legacy.
Released 30 years ago on Oct. 27, 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 spooky season.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (Murphy's classic from 1988), the vampire lead is pulled to New York City. But rather than journeying from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, seeking to locate and ensure the continuation of his vampire lineage with an heir of his tribe.
Maximillian arrives in New York aboard a phantom vessel whose sailors has been mysteriously slaughtered, 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 most humorous personalities in the movie. Silas then witnesses a black wolf leap from the ship, run into an alley, and morph into a human — like Michael Jackson's Panther Dance from the longer Black or White video. Groovy Blaxploitation-style music starts, establishing the mood for a film that handily balances horror and humor.
Directorial Ambitions
Fresh off his final entry in the Nightmare on Elm Street series, Craven was keen to break from his scary movie image 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 defy assumptions by venturing into a straight horror based on Dracula lore. The conflict of those creative goals explains the story's detailed beginning of Max's origins and its generally sluggish start. But once the film hits its stride, it opens up to its strengths — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), brings a crime-drama edge to the narrative. One of Black cinema’s most praised actresses, Bassett delivers a commanding acting alongside Payne, a well-known actor from the time. In the meantime, Murphy spends the majority of the film with Kadeem Hardison, forming a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his macabre part as his appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks elevates the comedy and horror, even when utilized by the cast).
Supernatural Romance
When the two leads meet and the stars appear together, the movie hits its stride — the suspense builds, the fear escalates, and their sinister attraction takes center stage. Max’s plan is to remove all Rita has in her life and then swoop in. He murders her housemate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and undermine her beliefs.
As the story progresses, it becomes increasingly Gothic, including metamorphoses and revelations of origins. This leads to a third act filled with seduction, as life and eternal punishment hang in the balance. The film ends with a stinger suggesting a possible follow-up, one that could have happened had the film been more successful. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon debut. As years passed, it gained popularity as a cult favorite, with critics later applauding Craven’s direction, the spark between the leads, and its sharp blend of horror and comedy. The movie flashes glimpses of genius that could have been more prominent had everyone involved been aligned on a unified vision, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an underappreciated but influential entry characterized by its bold style and unforgettable performances.
