The director's recent project may have revitalized the concept of African American undead, but the roots of this subgenre trace back to the Blaxploitation era. One of the most memorable pioneering films was the seminal 1972 movie Blacula. In that motion picture, William Marshall's character is bitten by Dracula and burdened with the insulting name “Blacula.” Originally written as a stereotype, the performer transformed the role into something majestic, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star seemed to take a cue from Marshall, 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 heir 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 tales of African American undead can be funny, frightening, and intellectually stimulating simultaneously, securing its place in the hall of fame by juggling all three while respecting the heritage of the category.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you want a dash of humor with your frights this spooky season.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to the Big Apple. But instead of journeying from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure 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 sailors has been mysteriously slaughtered, a nod to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the film's funniest characters. The inspector then witnesses a black wolf jump from the ship, run into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Funky Blaxploitation-style music kicks in, establishing the tone for a movie that handily balances scares and laughs.
Artistic Goals
Recently after his last installment in the Nightmare on Elm Street series, the director was eager to move beyond his horror reputation and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and real fear). Meanwhile, Murphy wanted to subvert expectations by venturing into a pure scary movie rooted in Dracula lore. The clash of those creative goals explains the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But once the film clicks into high gear, it opens up to its strengths — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), brings a crime-drama edge to the story. One of Black cinema’s most acclaimed actresses, Bassett delivers a powerful acting alongside Payne, a well-known actor from the era. 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 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 movie hits its stride — the suspense builds, the fear escalates, and their darkly seductive chemistry takes center stage. The vampire's scheme is to take away all Rita has in her life and then intervene. He kills her housemate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and weaken her beliefs.
As the story progresses, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This leads to a third act filled with temptation, as mortality and damnation hang in the balance. The movie ends with a teaser suggesting a possible follow-up, one that could have happened had the movie performed better. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon release. As years passed, it found new life as a beloved classic, with critics later praising Craven’s direction, the electric chemistry Murphy and Bassett, 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 cohesive approach, rather than delivering the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the canon of African American scary movies, an underappreciated but impactful entry characterized by its bold style and memorable acting.
