Three Decades Back, the Horror Maestro and Eddie Murphy Teamed Up for an Forgotten Cinematic Jewel
Ryan Coogler's latest work may have revitalized the idea of Black vampires, but the origins of this subgenre date back to the Blaxploitation era. Among the most memorable early examples was the seminal 1972 movie Blacula. In that motion picture, William Marshall's role is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a stereotype, the performer elevated the role into something regal, providing his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, the comedic star appeared to draw inspiration from his predecessor, enriching his own protagonist's lore in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears 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 all at once, earning its position in the hall of fame by juggling all three while honoring the subgenre's legacy.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you want a little comedy with your frights this Halloween.
A Tale of Two Cities
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), 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 heir of his tribe.
Maximillian arrives in New York aboard a phantom vessel whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The vessel is discovered by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. The inspector then witnesses a black wolf jump from the ship, run into an alley, and morph into a man — reminiscent of the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the tone for a film that expertly mixes scares and laughs.
Artistic Goals
Recently after his last installment in the iconic horror series, Craven was eager to move beyond his scary movie image and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and real fear). Meanwhile, the star aimed to defy assumptions by venturing into a straight horror rooted in Dracula lore. The clash of those artistic aims accounts for the story's detailed beginning of Max's origins and its somewhat slow commencement. But once the film clicks into high gear, it opens up to its strengths — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), adds a crime-drama edge to the narrative. Among Black cinema’s most acclaimed actresses, Bassett gives a commanding acting alongside her co-star, a familiar face from the era. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, creating a uproarious 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 skin decays during the movie is a standout moment of how Murphy’s usual bag of tricks elevates the humor and fear, even when employed by the cast).
Dark Seduction
When the two leads meet and Murphy and Bassett finally share the screen, the movie reaches its peak — the tension heightens, the scares intensify, and their sinister attraction takes center stage. Max’s plan is to take away everything Rita has in her life and then intervene. He murders her roommate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her beliefs.
As the story unfolds, it becomes increasingly Gothic, including transformations and revelations of origins. This leads to a final section filled with temptation, as mortality and damnation hang in the balance. The movie ends with a teaser hinting at a possible follow-up, one that could have happened had the film performed better. Vampire in Brooklyn made a modest box office return and got mostly negative reviews upon debut. Over time, it found new life as a cult favorite, with reviewers later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The movie 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 viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the canon of African American scary movies, an underappreciated but influential entry characterized by its daring approach and unforgettable performances.
