Ryan Coogler's recent project may have revitalized the concept of Black vampires, but the roots of this subgenre trace back to the 1970s cultural movement. Among the most memorable pioneering films was the seminal 1972 movie Blacula. In that motion picture, the actor's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall elevated the role into something regal, providing his character an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy seemed to take inspiration from his predecessor, deepening his own protagonist's lore in the director's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's 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 proves that Black vampire stories can be funny, terrifying, and intellectually stimulating simultaneously, securing its place in the canon by balancing all three while honoring the heritage of the category.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you want a little comedy with your scares this Halloween.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is drawn to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the survival of his undead bloodline with an offspring of his clan.
The character makes his entrance in New York aboard a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The vessel is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a black wolf jump from the ship, dart into an alley, and transform into a man — like the iconic routine from the longer Black or White video. Funky Blaxploitation-style music starts, establishing the tone for a movie that expertly mixes scares and laughs.
Creative Visions
Fresh off his final entry in the iconic horror 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 laughs and genuine scares). At the same time, the star wanted to subvert expectations by diving into a pure scary movie based on vampire mythology. The clash of those artistic aims explains the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the movie clicks into high gear, it opens up to its strengths — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), adds a crime-drama edge to the narrative. One of African American film's most acclaimed actresses, she delivers a powerful acting with Payne, a familiar face from the era. Meanwhile, Murphy spends the majority of the film with his comedic partner, forming a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his macabre part as his skin decays throughout the film is a standout moment of how the star's comedic style enhances the comedy and horror, even when employed by the cast).
Gothic Intrigue
When the two leads meet and the stars appear together, the movie reaches its peak — the tension heightens, the scares intensify, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away all Rita has in her life and then swoop in. He kills her roommate, creates conflict between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and undermine her beliefs.
As the story progresses, it becomes increasingly Gothic, including transformations and revelations of origins. This results in a third act packed with temptation, as life and eternal punishment hang in the balance. The film ends with a stinger suggesting a potential sequel, one that might have materialized had the film performed better. Vampire in Brooklyn made a moderate financial success and got largely critical reception upon release. Over time, it gained popularity as a cult favorite, with critics later applauding the filmmaker's work, the spark between the leads, and its clever mix of frights and fun. The film shows moments of brilliance that might have shone brighter had everyone involved been in agreement on a unified vision, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has deservedly secured its spot in the canon of African American scary movies, an underappreciated but influential entry characterized by its daring approach and unforgettable performances.
