The director's recent work may have revitalized the idea of Black vampires, but the roots of this cinematic category trace back to the Blaxploitation era. One of the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's character is turned by Dracula and burdened with the demeaning name “Blacula.” Originally written as a stereotype, Marshall transformed the role into something regal, providing his character an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star appeared to draw a cue from Marshall, enriching his own protagonist's lore in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist 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, frightening, and thought-provoking all at once, securing its position in the canon by balancing all three while respecting the subgenre's legacy.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you want a little comedy with your frights this spooky season.
A Tale of Two Cities
Like Prince Akeem in Coming to America (the actor's 1988 masterpiece), Maximillian is drawn to New York City. But rather than journeying from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his undead bloodline with an heir of his tribe.
The character makes his entrance in New York aboard a ghost ship whose sailors has been inexplicably killed, a nod to Nosferatu. The vessel is discovered by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then observes a dark creature jump from the ship, dart into an alley, and morph into a human — like the iconic routine from the longer Black or White video. Funky Blaxploitation-style music kicks in, establishing the mood for a film that handily balances horror and humor.
Creative Visions
Fresh off his last installment in the iconic horror series, the director was eager to move beyond his scary movie image and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). Meanwhile, the star wanted to subvert expectations by venturing into a pure scary movie based on vampire mythology. The conflict of those creative goals explains the film's exposition-heavy opening 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.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a crime-drama edge to the narrative. Among Black cinema’s most praised performers, she delivers a commanding performance with Payne, a well-known actor from the time. Meanwhile, Murphy spends the majority of the film with his comedic partner, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his ghoulish role 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 the cast).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film reaches its peak — the suspense builds, the fear escalates, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away all Rita has in her life and then intervene. He murders her housemate, drives a wedge between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her beliefs.
As the story progresses, it becomes increasingly Gothic, featuring transformations and discoveries of heritage. This leads to a final section filled with temptation, as mortality and damnation hang in the balance. The movie concludes with a teaser hinting at a possible follow-up, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a modest box office return and received largely critical reception upon release. As years passed, it gained popularity 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 flashes moments of brilliance that might have shone brighter had everyone involved been in agreement on a unified vision, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an underappreciated but influential film defined by its daring approach and unforgettable performances.
