Ryan Coogler's recent project may have revitalized the idea of Black vampires, but the roots of this subgenre trace back to the Blaxploitation era. Among the most memorable early examples was the 1972 classic Blacula. In that film, William Marshall's role is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a caricature, the performer elevated the role into something regal, providing his character an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy seemed to take a cue from his predecessor, deepening his own character's mythology 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 hunted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be humorous, frightening, and thought-provoking simultaneously, securing its place in the canon by balancing all three while honoring the heritage of the category.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you want a dash of humor with your frights this spooky season.
A Tale of Two Cities
Like Prince Akeem in Coming to America (Murphy's classic from 1988), the vampire lead is drawn to New York City. But instead of journeying from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to find and secure the continuation of his vampire lineage 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 homage to Nosferatu. The vessel is found by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then observes a black wolf leap 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. Funky 1970s-inspired soundtrack starts, setting the mood for a film that handily balances scares and laughs.
Directorial Ambitions
Recently after his final entry in the iconic horror series, Craven was keen to break from his horror reputation and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and genuine scares). At the same time, Murphy aimed to defy assumptions by diving into a straight horror based on Dracula lore. The clash 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 assets — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship 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 praised actresses, Bassett gives a commanding performance with her co-star, a familiar face from the time. In the meantime, Murphy spends the majority of the film with his comedic partner, forming a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his macabre part as his skin decays during the movie is a standout moment of how the star's comedic style enhances the comedy and horror, even when utilized by other actors).
Supernatural Romance
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the movie hits its stride — the tension heightens, the scares intensify, 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 make-up effects to masquerade as a clergyman and undermine her beliefs.
As the plot progresses, it becomes more darkly romantic, featuring transformations and revelations of origins. This results in a third act filled with seduction, as mortality and damnation are at stake. The film concludes with a teaser suggesting a possible follow-up, one that might have materialized had the film been more successful. Vampire in Brooklyn earned a moderate financial success and received largely critical reception upon release. As years passed, it gained popularity as a cult favorite, with reviewers later praising the filmmaker's work, the spark between Murphy and Bassett, and its clever mix of frights and fun. The film flashes glimpses of genius that might have shone brighter had everyone involved been in agreement on a unified vision, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an overlooked but influential entry characterized by its daring approach and unforgettable performances.
