The director's latest work may have revitalized the idea of Black vampires, but the origins of this cinematic category date back to the Blaxploitation era. Among the most iconic early examples was the 1972 classic Blacula. In that film, William Marshall's role is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, the performer transformed the part into something regal, providing his character an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy appeared to draw inspiration from Marshall, enriching his own protagonist's lore in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and intellectually stimulating simultaneously, securing its place in the canon by juggling all three while honoring the subgenre's legacy.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you need a little comedy with your scares this spooky season.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is pulled to New York City. But rather than traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the survival of his vampire lineage with an heir of his clan.
Maximillian arrives in New York aboard a ghost ship whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then witnesses a dark creature leap from the ship, run into an alley, and transform into a human — reminiscent of the iconic routine from the extended Black or White video. Groovy Blaxploitation-style music kicks in, setting the tone for a film that expertly mixes horror and humor.
Directorial Ambitions
Recently after his final entry in the Nightmare on Elm Street series, Craven was keen to break from his scary movie image and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and genuine scares). At the same time, Murphy wanted to defy assumptions by venturing into a pure scary movie based on vampire mythology. The clash of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the film clicks into high gear, it unfolds to its assets — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), adds a procedural element to the story. One of Black cinema’s most praised actresses, she gives a powerful acting alongside Payne, a well-known actor from the time. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, creating a uproarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his macabre part as his skin decays throughout the film is a highlight of how the star's comedic style enhances the comedy and horror, even when utilized by other actors).
Dark Seduction
When the two leads meet and the stars appear together, the film reaches its peak — the suspense builds, the fear escalates, and their sinister attraction takes center stage. The vampire's scheme is to remove all Rita has in her life and then intervene. He murders her housemate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and undermine her faith.
As the plot unfolds, it becomes increasingly Gothic, including transformations and revelations of origins. This leads to a third act filled with seduction, as life and eternal punishment are at stake. The film ends with a stinger hinting at a potential sequel, one that could have happened had the movie been more successful. Vampire in Brooklyn made a modest box office return and received largely critical reception upon debut. Over time, it gained popularity as a beloved classic, with reviewers later applauding the filmmaker's work, the spark between the leads, and its clever mix of horror and comedy. The film shows glimpses of genius that could have been more prominent had everyone involved been aligned on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. 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.
