The director's latest project may have breathed new life into the concept of Black vampires, but the origins of this subgenre date back to the Blaxploitation era. One of the most iconic pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's character is bitten by Dracula and burdened with the insulting name “Blacula.” Originally written as a stereotype, the performer transformed the part into something regal, giving his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, the comedic star appeared to draw a cue from his predecessor, enriching his own protagonist's lore in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors escaped 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 funny, terrifying, and intellectually stimulating simultaneously, earning its place in the hall of fame by balancing all three while honoring the subgenre's legacy.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you want a dash of humor with your scares this Halloween.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is drawn to the Big Apple. But instead of journeying from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, seeking to locate and ensure the continuation of his undead bloodline with an offspring of his clan.
Maximillian arrives in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship is found by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. Silas then observes a dark creature jump from the ship, dart into an alley, and transform into a human — like the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music starts, establishing the tone for a movie that expertly mixes horror and humor.
Directorial Ambitions
Fresh off his last installment in the Nightmare on Elm Street series, the director was eager to break from his scary movie image and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and real fear). At the same time, the star wanted to subvert expectations by diving into a straight horror based on Dracula lore. The conflict of those creative goals explains the story's detailed beginning of the protagonist's backstory 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 (Allen Payne), brings a crime-drama edge to the narrative. Among Black cinema’s most acclaimed actresses, Bassett delivers a commanding performance with her co-star, a familiar face from the time. In the meantime, the lead spends most of his screen time with his comedic partner, forming a uproarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his ghoulish role as his appearance deteriorates throughout the film is a standout moment of how the star's comedic style elevates the comedy and horror, even when employed by the cast).
Gothic Intrigue
When the two leads meet and the stars appear together, the movie hits its stride — the tension heightens, the scares intensify, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to remove everything Rita has in her life and then intervene. He kills her housemate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her faith.
As the story progresses, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This leads to a final section filled with seduction, as mortality and damnation hang in the balance. The movie concludes with a stinger suggesting a potential sequel, one that could have happened had the movie performed better. Vampire in Brooklyn made a moderate financial success and received mostly negative reviews upon debut. As years passed, it found new life as a beloved classic, with critics later applauding Craven’s direction, the spark between Murphy and Bassett, and its clever mix of frights and fun. The movie shows moments of brilliance that might have shone brighter had everyone involved been in agreement on a cohesive approach, rather than delivering the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an underappreciated but influential entry characterized by its daring approach and unforgettable performances.
