The director's latest work may have breathed new life into the idea of African American undead, but the origins of this cinematic category date back to the 1970s cultural movement. One of the most iconic pioneering films 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.” Initially conceived as a stereotype, the performer transformed the part into something regal, giving his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw a cue from his predecessor, enriching his own character's mythology in Wes Craven's take on the Black vampire subgenre: 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 funny, terrifying, and intellectually stimulating simultaneously, earning its place in the hall of fame by juggling 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 need a dash of humor with your scares this spooky season.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is pulled to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, seeking to locate and ensure the continuation of his vampire lineage with an offspring of his tribe.
Maximillian arrives in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a nod to Nosferatu. The vessel is discovered by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. The inspector then witnesses a dark creature leap from the ship, run into an alley, and transform into a man — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the mood for a film that handily balances scares and laughs.
Creative Visions
Fresh off his last installment in the iconic horror series, Craven was eager to move beyond his scary movie image and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and real fear). At the same time, Murphy aimed to subvert expectations 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 unfolds to its strengths — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), brings a crime-drama edge to the narrative. One of African American film's most acclaimed actresses, she delivers a commanding performance alongside Payne, a well-known actor from the era. In the meantime, the lead spends the majority of the film with his comedic partner, 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 macabre part as his skin decays throughout the film is a standout moment of how Murphy’s usual bag of tricks enhances the comedy and horror, even when employed by other actors).
Gothic Intrigue
When Max and Rita’s paths intertwine and the stars finally share the screen, the film hits its stride — the tension heightens, the scares intensify, and their sinister attraction becomes the focus. Max’s plan is to remove everything Rita has in her life and then swoop in. He kills her roommate, creates conflict between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and undermine her faith.
As the story progresses, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This results in a third act filled with temptation, as life and eternal punishment hang in the balance. The movie concludes with a teaser suggesting a possible follow-up, one that might have materialized had the film been more successful. Vampire in Brooklyn earned a modest box office return and received mostly negative reviews upon release. As years passed, it found new life as a beloved classic, with reviewers later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The movie shows moments of brilliance that might have shone brighter had everyone involved been in agreement on a unified vision, rather than producing the mixed-genre result audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an underappreciated but influential entry characterized by its daring approach and unforgettable performances.
