Ryan Coogler's recent work may have breathed new life into the concept of Black vampires, but the roots of this cinematic category date back to the 1970s cultural movement. Among the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a caricature, Marshall elevated the part into something majestic, giving his character an historical origin as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy appeared to draw a cue from Marshall, deepening his own character's mythology in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, frightening, and intellectually stimulating all at once, securing its position in the hall of fame by balancing all three while respecting the heritage of the category.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you need a dash of humor with your scares this Halloween.
An Urban Vampire Story
Like Prince Akeem in Coming to America (the actor's classic from 1988), the vampire lead is pulled to New York City. But instead of journeying from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, aiming to find and secure the continuation of his vampire lineage with an offspring of his clan.
The character makes his entrance in New York aboard a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The ship is discovered by harbor official Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then witnesses a black wolf jump from the ship, run into an alley, and transform 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 movie that handily balances scares and laughs.
Artistic Goals
Fresh off his last installment in the Nightmare on Elm Street series, Craven was eager 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 comedy and real fear). Meanwhile, Murphy aimed to defy assumptions by diving into a pure scary movie based on vampire mythology. The conflict of those creative goals explains 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 assets — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), adds a crime-drama edge to the narrative. One of Black cinema’s most acclaimed performers, she gives a powerful performance with Payne, a well-known actor from the era. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, forming a uproarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his macabre part as his skin decays throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the humor and fear, even when utilized by other actors).
Supernatural Romance
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the movie reaches its peak — the tension heightens, the scares intensify, and their sinister attraction takes center stage. Max’s plan is to remove everything Rita has in her life and then intervene. He kills her roommate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and undermine her faith.
As the plot unfolds, it becomes more darkly romantic, featuring metamorphoses and discoveries of heritage. This results in a third act filled with temptation, as life and eternal punishment are at stake. The film concludes with a stinger hinting at a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn earned a modest box office return and got largely critical reception upon release. As years passed, it found new life as a cult favorite, with reviewers later praising the filmmaker's work, the spark between Murphy and Bassett, and its clever mix of horror and comedy. The film flashes glimpses of genius that could have been more prominent had all participants been in agreement on a cohesive approach, rather than delivering the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of African American scary movies, an overlooked but impactful entry defined by its daring approach and unforgettable performances.
