The director's recent project may have revitalized the idea of Black vampires, but the origins of this subgenre trace back to the Blaxploitation era. One of the most memorable early examples was the seminal 1972 movie Blacula. In that motion picture, the actor's character is turned by Dracula and cursed with the demeaning name “Blacula.” Originally written as a caricature, the performer elevated the part into something majestic, giving his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, the comedic star seemed to take 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. The protagonist Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, frightening, and intellectually stimulating simultaneously, securing its position in the hall of fame by juggling all three while respecting the subgenre's legacy.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you want a dash of humor with your scares this spooky season.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (the actor's classic from 1988), Maximillian is pulled to New York City. But rather than traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the continuation of his vampire lineage with an offspring of his clan.
Maximillian arrives in New York aboard a ghost ship whose sailors has been inexplicably killed, 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 most humorous personalities in the movie. Silas then observes a dark creature jump from the ship, dart into an alley, and transform into a human — like Michael Jackson's Panther Dance from the longer Black or White video. Groovy Blaxploitation-style music kicks in, setting the tone for a movie that expertly mixes scares and laughs.
Directorial Ambitions
Fresh off his last installment in the iconic horror series, Craven was keen to break from his scary movie image and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and genuine scares). At the same time, the star aimed to defy assumptions by venturing into a straight horror based on vampire mythology. The conflict of those creative goals accounts for the story's detailed beginning of Max's origins and its generally sluggish start. But when the film clicks into high gear, it unfolds to its strengths — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the story. Among Black cinema’s most praised performers, Bassett delivers a powerful performance alongside her co-star, a familiar face from the time. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, creating a hilarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his ghoulish role as his skin decays during the movie is a highlight of how Murphy’s usual bag of tricks elevates the humor and fear, even when employed by the cast).
Supernatural Romance
When the two leads meet and Murphy and Bassett appear together, the film hits its stride — the suspense builds, the fear escalates, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away everything Rita has in her life and then intervene. He kills her roommate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her beliefs.
As the plot progresses, it becomes increasingly Gothic, including metamorphoses and revelations of origins. This results in a third act filled with temptation, as life and eternal punishment hang in the balance. The film ends with a teaser hinting at a possible follow-up, one that could have happened had the movie performed better. Vampire in Brooklyn made a modest box office return and received largely critical reception upon release. As years passed, it found new life as a beloved classic, with reviewers later applauding the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The movie flashes glimpses of genius that might have shone brighter had all participants been in agreement on a cohesive approach, rather than producing the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an overlooked but influential entry characterized by its daring approach and memorable acting.
