The director's recent work may have breathed new life into the concept of Black vampires, but the roots of this subgenre date back to the Blaxploitation era. Among the most iconic early examples was the 1972 classic Blacula. In that film, the actor's character is bitten by Dracula and burdened with the insulting name “Blacula.” Originally written as a stereotype, Marshall transformed the role into something majestic, providing his figure an historical origin as Mamuwalde, a proud African prince.
Decades later, the comedic star seemed to take inspiration from Marshall, enriching his own protagonist's lore in the director's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, frightening, and thought-provoking simultaneously, securing its position in the canon by juggling all three while honoring the subgenre's legacy.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you need a little comedy with your scares this Halloween.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is drawn to the Big Apple. But instead of journeying from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, aiming to find and secure the survival of his undead bloodline with an heir of his tribe.
The character makes his entrance in New York on a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. The inspector then observes a black wolf jump from the ship, run into an alley, and morph into a man — like Michael Jackson's Panther Dance from the longer Black or White video. Groovy 1970s-inspired soundtrack starts, establishing the mood for a movie that expertly mixes horror and humor.
Creative Visions
Recently after his last installment in the iconic horror series, Craven was keen to move beyond his scary movie image and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and real fear). Meanwhile, Murphy wanted to subvert expectations by diving into a straight horror based on Dracula lore. The conflict of those creative goals explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But once the movie clicks into high gear, it unfolds to its strengths — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), brings a procedural element to the story. One of Black cinema’s most acclaimed performers, Bassett gives a commanding acting alongside Payne, a familiar face from the time. In the meantime, the lead spends the majority of the film with Kadeem Hardison, creating a uproarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates throughout the film is a standout moment of how the star's comedic style elevates the comedy and horror, even when utilized by the cast).
Supernatural Romance
When Max and Rita’s paths intertwine and Murphy and Bassett 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 remove everything Rita has in her life and then swoop in. He kills her roommate, drives a wedge between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and weaken her beliefs.
As the plot unfolds, it becomes increasingly Gothic, including metamorphoses and revelations of origins. This results in a third act packed with seduction, as life and eternal punishment hang in the balance. The film ends with a teaser suggesting a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon release. Over time, it gained popularity as a cult favorite, with critics later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of horror and comedy. The movie flashes moments of brilliance that could have been more prominent had all participants been in agreement on a cohesive approach, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an underappreciated but impactful entry characterized by its bold style and memorable acting.
