The director's recent project may have revitalized the idea of Black vampires, but the roots of this cinematic category trace back to the Blaxploitation era. Among the most memorable early examples was the 1972 classic Blacula. In that motion picture, William Marshall's role is bitten by Dracula and burdened with the insulting name “Blacula.” Originally written as a stereotype, the performer transformed the role into something regal, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, the comedic star seemed to take inspiration from his predecessor, deepening his own character's mythology in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, terrifying, and intellectually stimulating simultaneously, securing its place in the hall of fame by juggling all three while respecting the subgenre's legacy.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you need a dash of humor with your frights this Halloween.
An Urban Vampire Story
Similar to the royal character in Coming to America (Murphy's classic from 1988), Maximillian is drawn 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 heir of his clan.
The character makes his entrance in New York on a ghost ship whose crew has been inexplicably killed, a homage to Nosferatu. The vessel is discovered by ship inspector Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then observes a black wolf jump from the ship, run into an alley, and transform into a man — reminiscent of the iconic routine from the longer Black or White video. Funky Blaxploitation-style music starts, setting the mood for a film that handily balances horror and humor.
Directorial Ambitions
Recently after his final entry in the iconic horror series, the director was keen to move beyond his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). At the same time, Murphy wanted to defy assumptions by diving into a straight horror rooted in vampire mythology. The conflict of those creative goals accounts for the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But when the film hits its stride, it unfolds to its strengths — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), brings a crime-drama edge to the story. Among African American film's most praised actresses, Bassett delivers a commanding acting alongside her co-star, a well-known actor from the era. In the meantime, the lead spends most of his screen time with his comedic partner, forming a hilarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his macabre part as his appearance deteriorates during the movie is a highlight of how the star's comedic style elevates the humor and fear, even when employed by other actors).
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 sinister attraction becomes the focus. The vampire's scheme is to take away 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 prosthetics to masquerade as a clergyman and weaken her beliefs.
As the story progresses, it becomes increasingly Gothic, featuring transformations and revelations of origins. This results in a final section filled with seduction, as mortality and damnation are at stake. The movie ends with a teaser hinting at a potential sequel, one that might have materialized had the film performed better. Vampire in Brooklyn made a modest box office return and got largely critical reception upon debut. As years passed, it found new life as a cult favorite, with reviewers later praising the filmmaker's work, the electric chemistry the leads, and its sharp blend of frights and fun. The film shows glimpses of genius that might have shone brighter had all participants been aligned on a cohesive approach, rather than delivering the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the canon of African American scary movies, an underappreciated but impactful film characterized by its bold style and unforgettable performances.
