The director's recent project may have breathed new life into the idea of African American undead, but the origins of this cinematic category trace back to the 1970s cultural movement. One of the most memorable pioneering films was the seminal 1972 movie Blacula. In that motion picture, William Marshall's character is turned by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, the performer transformed the part into something regal, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star appeared to draw inspiration from his predecessor, deepening his own protagonist's lore in the director's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, terrifying, and thought-provoking all at once, earning its position in the hall of fame by juggling all three while honoring the heritage of the category.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you want a dash of humor with your scares this Halloween.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (Murphy's classic from 1988), the vampire lead is drawn to the Big Apple. But rather than journeying from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, seeking to find and secure the continuation of his undead bloodline with an heir of his clan.
Maximillian arrives in New York on a phantom vessel whose crew has been inexplicably killed, a nod to Nosferatu. The vessel is discovered by ship inspector Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then observes a dark creature leap from the ship, dart into an alley, and transform into a human — like the iconic routine from the longer Black or White video. Funky 1970s-inspired soundtrack starts, setting the mood for a film that expertly mixes scares and laughs.
Creative Visions
Recently after his last installment in the Nightmare on Elm Street series, the director was keen to break from his scary movie image and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and genuine scares). Meanwhile, Murphy wanted to defy assumptions by venturing into a straight horror based on vampire mythology. The conflict of those artistic aims explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the movie hits its stride, it opens up to its assets — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), adds a procedural element to the story. One of African American film's most acclaimed actresses, she gives a powerful performance with Payne, a familiar face from the time. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, forming a hilarious 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 appearance deteriorates during the movie is a standout moment of how Murphy’s usual bag of tricks enhances the humor and fear, even when utilized by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and the stars appear together, the film reaches its peak — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to remove all Rita has in her life and then intervene. He murders her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque make-up effects 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 are at stake. The movie concludes with a teaser suggesting a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon release. Over time, it gained popularity as a beloved classic, with critics later applauding Craven’s direction, the electric chemistry the leads, and its sharp blend of frights and fun. The movie shows glimpses of genius that could have been more prominent had all participants been in agreement on a unified vision, rather than delivering 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 entry characterized by its daring approach and memorable acting.
