The director's latest project may have revitalized the idea of African American undead, but the roots of this cinematic category trace back to the 1970s cultural movement. Among the most iconic pioneering films was the seminal 1972 movie Blacula. In that motion picture, the actor's character is turned by Dracula and burdened with the insulting name “Blacula.” Originally written as a stereotype, the performer elevated the part into something regal, providing his figure an historical origin as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy seemed to take inspiration from Marshall, deepening his own character's mythology in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be humorous, terrifying, and intellectually stimulating all at once, securing its place in the hall of fame by balancing all three while respecting the heritage of the category.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you want a dash of humor with your scares this Halloween.
A Tale of Two Cities
Similar to the royal character in Coming to America (Murphy's 1988 masterpiece), the vampire lead is pulled to New York City. But instead of traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the survival of his vampire lineage with an offspring of his tribe.
The character makes his entrance 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 (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas 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 extended Black or White video. Funky Blaxploitation-style music kicks in, establishing the mood for a movie that expertly mixes horror and humor.
Artistic Goals
Recently after his last installment in the Nightmare on Elm Street series, Craven was keen to break from his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). Meanwhile, the star aimed to defy assumptions by venturing into a pure scary movie rooted in vampire mythology. The conflict of those artistic aims explains the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the film clicks into high gear, it opens up to its strengths — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), brings a crime-drama edge to the story. Among African American film's most acclaimed actresses, she gives a powerful acting alongside Payne, a familiar face from the era. In the meantime, Murphy spends most of his screen time with Kadeem Hardison, forming a uproarious Abbott-and-Costello-style duo as the actor'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 highlight of how the star's comedic style elevates the comedy and horror, even when employed by other actors).
Supernatural Romance
When Max and Rita’s paths intertwine and the stars finally share the screen, the film hits its stride — the tension heightens, the scares intensify, and their darkly seductive chemistry takes center stage. Max’s plan is to take away all Rita has in her life and then swoop in. He kills her housemate, drives a wedge between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and weaken her beliefs.
As the plot progresses, it becomes increasingly Gothic, featuring metamorphoses and discoveries of heritage. This results in a third act packed with seduction, as mortality and damnation hang in the balance. The film concludes with a teaser suggesting a possible follow-up, one that might have materialized had the film been more successful. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon release. Over time, it gained popularity as a beloved classic, with reviewers later applauding the filmmaker's work, the spark between Murphy and Bassett, and its sharp blend of horror and comedy. The movie shows glimpses of genius that could have been more prominent had all participants been in agreement on a unified vision, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the history of Black horror, an overlooked but influential film defined by its daring approach and memorable acting.
