Ryan Coogler's latest work may have revitalized the idea of African American undead, but the origins of this cinematic category date back to the Blaxploitation era. Among the most iconic early examples was the 1972 classic Blacula. In that motion picture, the actor's role is bitten by Dracula and burdened with the insulting name “Blacula.” Originally written as a stereotype, the performer elevated the part into something majestic, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, the comedic star appeared to draw a cue from his predecessor, deepening his own character's mythology in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be funny, frightening, and thought-provoking all at once, securing its position in the hall of fame by juggling all three while respecting the subgenre's legacy.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you need a little comedy with your frights this spooky season.
A Tale of Two Cities
Like Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is pulled to New York City. But rather than journeying from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline with an heir of his clan.
The character makes his entrance in New York aboard a phantom vessel whose crew has been inexplicably killed, a homage to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then observes a dark creature jump from the ship, run into an alley, and transform into a human — like the iconic routine from the extended Black or White video. Groovy Blaxploitation-style music kicks in, setting the tone for a movie that handily balances scares and laughs.
Creative Visions
Fresh off his final entry in the iconic horror series, Craven was eager to break from his scary movie image and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and real fear). At the same time, Murphy aimed to subvert expectations by diving into a straight horror based on vampire mythology. The conflict of those creative goals explains the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the film clicks into high gear, it unfolds to its strengths — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), adds a crime-drama edge to the narrative. Among African American film's most acclaimed performers, Bassett delivers a powerful acting alongside Payne, a well-known actor from the time. Meanwhile, the lead spends the majority of the film with his comedic partner, forming a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his macabre part as his skin decays during the movie is a standout moment of how Murphy’s usual bag of tricks elevates the comedy and horror, even when utilized by the cast).
Supernatural Romance
When the two leads meet and the stars finally share the screen, the movie reaches its peak — the suspense builds, the fear escalates, and their sinister attraction takes center stage. Max’s plan is to remove all Rita has in her life and then intervene. He kills her housemate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and undermine her beliefs.
As the plot unfolds, it becomes increasingly Gothic, featuring transformations and discoveries of heritage. This leads to a third act filled with seduction, as mortality and damnation are at stake. The film concludes with a stinger suggesting a possible follow-up, one that might have materialized had the film been more successful. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon debut. Over time, it found new life as a beloved classic, with critics later applauding Craven’s direction, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The movie flashes glimpses of genius that could have been more prominent had everyone involved been in agreement on a cohesive approach, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of Black horror, an underappreciated but influential film characterized by its daring approach and memorable acting.
