The director's latest project may have breathed new life into the idea of African American undead, but the roots of this cinematic category date back to the Blaxploitation era. One of the most iconic pioneering films was the 1972 classic Blacula. In that film, William Marshall's character is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a caricature, the performer elevated the part into something majestic, providing his figure an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star appeared to draw inspiration from Marshall, enriching 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 hunted to the brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, frightening, and intellectually stimulating all at once, securing its place in the canon by balancing all three while honoring the subgenre's legacy.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you want a dash of humor with your scares this spooky season.
A Tale of Two Cities
Like the royal character in Coming to America (Murphy's 1988 masterpiece), the vampire lead is drawn to the Big Apple. But rather than traveling from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, aiming to find and secure the continuation of his vampire lineage with an offspring of his clan.
Maximillian arrives in New York aboard a phantom vessel whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The vessel is found by harbor official Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then observes a dark creature leap from the ship, dart into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the tone for a movie that expertly mixes scares and laughs.
Directorial Ambitions
Recently after his final entry in the Nightmare on Elm Street series, Craven was keen to break from his scary movie image and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). At the same time, the star aimed to subvert expectations by diving into a pure scary movie rooted in Dracula lore. The conflict of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But once the movie clicks into high gear, it unfolds to its assets — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the narrative. One of Black cinema’s most praised actresses, Bassett delivers a powerful performance with her co-star, a well-known actor from the era. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, forming a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks elevates the humor and fear, even when utilized by the cast).
Supernatural Romance
When the two leads meet and Murphy and Bassett finally share the screen, the film hits its stride — the tension heightens, the fear escalates, and their sinister attraction takes center stage. Max’s plan is to remove all Rita has in her life and then swoop in. He murders her roommate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and weaken her faith.
As the story progresses, it becomes increasingly Gothic, featuring transformations and discoveries of heritage. This results in a third act filled with seduction, as mortality and damnation hang in the balance. The film ends with a teaser suggesting a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a modest box office return and got largely critical reception upon debut. Over time, it gained popularity as a beloved classic, with critics later praising Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The movie shows glimpses of genius that could have been more prominent had everyone involved been aligned on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an overlooked but impactful entry characterized by its bold style and memorable acting.
