The director's recent work may have breathed new life into the idea of African American undead, but the origins of this cinematic category date back to the Blaxploitation era. Among the most memorable pioneering films was the 1972 classic Blacula. In that film, the actor's role is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, the performer elevated the role into something majestic, providing his character an historical origin as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy appeared to draw a cue from his predecessor, enriching his own protagonist's lore in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be humorous, frightening, and intellectually stimulating simultaneously, earning its place in the hall of fame by juggling all three while honoring the heritage of the category.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you need a little comedy with your scares this Halloween.
A Tale of Two Cities
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to New York City. But instead of journeying from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, seeking to locate and ensure the survival of his vampire lineage with an heir of his clan.
Maximillian arrives in New York aboard a ghost ship whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is found by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (the actor), 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 morph into a man — like the iconic routine from the longer Black or White video. Groovy 1970s-inspired soundtrack kicks in, setting the tone for a film that expertly mixes horror and humor.
Creative Visions
Recently after his last installment in the Nightmare on Elm Street series, Craven was keen to break from his horror reputation and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and real fear). Meanwhile, Murphy wanted to defy assumptions by venturing into a pure scary movie based on vampire mythology. The clash of those creative goals explains the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But when the movie hits its stride, it opens up to its assets — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), adds a procedural element to the narrative. Among Black cinema’s most praised actresses, she delivers a commanding acting alongside Payne, a well-known actor from the era. Meanwhile, Murphy spends most of his screen time with his comedic partner, forming a uproarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius descend further into his ghoulish role as his skin decays during the movie is a standout moment of how the star's comedic style enhances the humor and fear, even when employed by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and the stars finally share the screen, the film hits its stride — the tension heightens, the fear escalates, 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 murders her housemate, 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 beliefs.
As the story unfolds, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This leads to a third act filled with seduction, as life and eternal punishment hang in the balance. The film concludes with a teaser hinting at a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon release. Over time, it found new life as a cult favorite, with reviewers later praising the filmmaker's work, the spark between the leads, and its clever mix of horror and comedy. The movie shows glimpses of genius that could have been more prominent had all participants been in agreement on a cohesive approach, rather than producing the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an overlooked but influential film characterized by its daring approach and memorable acting.
