The director's recent work may have breathed new life into the concept of African American undead, but the origins of this cinematic category trace back to the 1970s cultural movement. 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 demeaning name “Blacula.” Initially conceived as a caricature, Marshall transformed the role into something regal, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy appeared to draw a cue from Marshall, enriching his own character's mythology in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's 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 proves that Black vampire stories can be funny, frightening, and thought-provoking simultaneously, securing its place in the hall of fame by balancing all three while respecting the subgenre's legacy.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you want a little comedy with your frights this spooky season.
A Tale of Two Cities
Like the royal character in Coming to America (Murphy's 1988 masterpiece), the vampire lead is pulled to New York City. But instead of journeying from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, aiming to locate and ensure the continuation of his vampire lineage with an offspring of his clan.
The character makes his entrance in New York aboard a phantom vessel whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (the comedian) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then witnesses a black wolf leap from the ship, run into an alley, and transform into a man — like the iconic routine from the longer Black or White video. Funky Blaxploitation-style music kicks in, establishing the mood for a film that handily balances horror and humor.
Directorial Ambitions
Recently after his final entry in the Nightmare on Elm Street series, the director 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 laughs and genuine scares). Meanwhile, Murphy aimed to defy assumptions by venturing into a straight horror rooted in vampire mythology. The conflict of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the film hits its stride, it unfolds to its strengths — like its eclectic cast.
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), brings a crime-drama edge to the narrative. Among African American film's most praised actresses, she gives a powerful acting alongside Payne, a well-known actor from the time. In the meantime, the lead spends the majority of the film with Kadeem Hardison, forming a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his macabre part as his skin decays during the movie is a highlight of how Murphy’s usual bag of tricks enhances the humor and fear, even when utilized by other actors).
Supernatural Romance
When Max and Rita’s paths intertwine and the stars finally share the screen, the movie reaches its peak — the tension heightens, the fear escalates, and their sinister attraction becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He kills her roommate, creates conflict between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her faith.
As the story unfolds, it becomes more darkly romantic, featuring metamorphoses and discoveries of heritage. This leads to a final section filled with temptation, as mortality and damnation are at stake. The film ends with a stinger suggesting a potential sequel, one that could have happened had the film been more successful. Vampire in Brooklyn earned a modest box office return and got mostly negative reviews upon release. Over time, it found new life as a beloved classic, with critics later applauding Craven’s direction, the spark between the leads, and its sharp blend of horror and comedy. The film shows glimpses of genius that could have been more prominent had everyone involved been in agreement on a unified vision, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an underappreciated but influential film defined by its bold style and unforgettable performances.
