The director's latest work may have breathed new life into the concept of Black vampires, but the origins of this cinematic category date back to the Blaxploitation era. Among the most iconic early examples was the seminal 1972 movie Blacula. In that film, William Marshall's character is turned by Dracula and burdened with the insulting name “Blacula.” Originally written as a caricature, the performer transformed the part into something majestic, giving his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw inspiration from Marshall, deepening his own protagonist's lore in the director's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's 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 Black vampire stories can be funny, frightening, and thought-provoking all at once, earning its position in the hall of fame by balancing all three while honoring the subgenre's legacy.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you need a dash of humor with your scares this Halloween.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (the actor's classic from 1988), the vampire lead is pulled to the Big Apple. But instead of journeying from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, aiming to locate and ensure the continuation of his vampire lineage with an offspring of his tribe.
Maximillian arrives in New York on a phantom vessel whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel is discovered by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then witnesses a dark creature jump from the ship, dart into an alley, and morph into a man — like the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, setting the mood for a movie that expertly mixes scares and laughs.
Creative Visions
Recently after his last installment in the iconic horror series, Craven 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 scary conventions for both laughs and genuine scares). Meanwhile, the star aimed to defy assumptions by venturing into a straight horror rooted in Dracula lore. The conflict of those artistic aims explains the story's detailed beginning of Max's origins and its somewhat slow commencement. But once the movie hits its stride, it unfolds to its strengths — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), adds a procedural element to the story. One of Black cinema’s most praised performers, she delivers a powerful acting with Payne, a familiar face from the time. In the meantime, the lead spends the majority of the film with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his ghoulish role 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 the stars appear together, the film reaches its peak — the suspense builds, the fear escalates, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away everything Rita has in her life and then swoop in. He kills her housemate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and undermine her beliefs.
As the story unfolds, it becomes more darkly romantic, featuring transformations and revelations of origins. This results in a final section filled with seduction, as life and eternal punishment are at stake. The movie ends with a teaser suggesting a potential sequel, one that might have materialized had the film performed better. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon release. 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 frights and fun. The film flashes moments of brilliance that could have been more prominent had everyone involved been in agreement on a cohesive approach, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its spot in the history of African American scary movies, an overlooked but impactful film characterized by its daring approach and unforgettable performances.
