The director's latest work may have revitalized the idea of African American undead, but the roots of this cinematic category date back to the 1970s cultural movement. One of the most memorable early examples was the 1972 classic Blacula. In that motion picture, the actor's character is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, the performer transformed the role into something regal, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star seemed to take a cue from his predecessor, enriching his own protagonist's lore in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, terrifying, and thought-provoking all at once, securing its place in the hall of fame by balancing all three while honoring 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 must-see if you want a dash of humor with your frights this spooky season.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is drawn to New York City. But rather than journeying from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the continuation of his vampire lineage with an offspring of his tribe.
Maximillian arrives in New York on a phantom vessel whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The ship is discovered by harbor official Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the film's funniest characters. The inspector then observes a black wolf leap from the ship, run into an alley, and morph into a man — reminiscent of the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music kicks in, setting the mood for a movie that expertly mixes horror and humor.
Creative Visions
Fresh off his final entry in the iconic horror series, the director was keen to move beyond his scary movie image and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and real fear). Meanwhile, the star wanted to subvert expectations by venturing into a straight horror based on vampire mythology. The clash of those creative goals accounts for the story's detailed beginning of Max's origins and its generally sluggish start. But once the movie clicks into high gear, it opens up to its assets — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), adds a procedural element to the story. Among Black cinema’s most praised actresses, she delivers a powerful acting alongside her co-star, a familiar face from the time. 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 appearance deteriorates during the movie is a standout moment of how the star's comedic style elevates the humor and fear, even when utilized by the cast).
Dark Seduction
When the two leads meet and the stars appear together, the movie hits its stride — the tension heightens, the fear escalates, and their darkly seductive chemistry takes center stage. The vampire's scheme is to take away everything Rita has in her life and then intervene. He murders her roommate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and undermine her faith.
As the story unfolds, it becomes increasingly Gothic, featuring transformations and discoveries of heritage. This results in a final section packed with seduction, as life and eternal punishment are at stake. The film ends with a teaser suggesting a possible follow-up, one that could have happened had the movie been more successful. Vampire in Brooklyn made a moderate financial success and received mostly negative reviews upon release. Over time, it found new life as a beloved classic, with reviewers later praising the filmmaker's work, the electric chemistry the leads, and its sharp blend 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 producing the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an underappreciated but impactful film defined by its daring approach and memorable acting.
