The director's latest project may have revitalized the idea of Black vampires, but the roots of this cinematic category trace back to the Blaxploitation era. Among the most memorable early examples was the 1972 classic Blacula. In that film, William Marshall's character is bitten by Dracula and burdened with the insulting name “Blacula.” Originally written as a caricature, Marshall transformed the part into something regal, providing his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, 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. Murphy's Maximillian is a heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and thought-provoking all at once, securing its place in the hall of fame by balancing all three while respecting the heritage of the category.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you want a dash of humor with your scares this spooky season.
A Tale of Two Cities
Like the royal character in Coming to America (the actor's classic from 1988), Maximillian is drawn to the Big Apple. But instead of journeying from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, seeking to locate and ensure the survival of his vampire lineage with an offspring of his tribe.
The character makes his entrance in New York on a phantom vessel whose crew 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. Silas then witnesses a black wolf jump from the ship, dart into an alley, and transform into a human — reminiscent of the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music starts, establishing the mood for a movie that expertly mixes scares and laughs.
Artistic Goals
Fresh off his last installment in the Nightmare on Elm Street series, the director was eager to move beyond his horror reputation and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and genuine scares). At the same time, the star aimed to subvert expectations by diving into a straight horror rooted in vampire mythology. The clash of those creative goals accounts for the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But once the movie hits its stride, 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 colleague and romantic lead, detective Justice (Allen Payne), brings a procedural element to the story. One of Black cinema’s most praised actresses, Bassett gives a commanding acting alongside Payne, a well-known actor from the era. In the meantime, Murphy spends most of his screen time with his comedic partner, forming a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his macabre part as his skin decays during the movie is a highlight of how the star's comedic style enhances the comedy and horror, even when employed by the cast).
Dark Seduction
When the two leads meet and Murphy and Bassett finally share the screen, the movie reaches its peak — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. Max’s plan is to remove everything Rita has in her life and then intervene. He murders 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 undermine her beliefs.
As the story progresses, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This leads to a final section packed with seduction, as life and eternal punishment are at stake. The movie ends with a stinger suggesting a possible follow-up, one that could have happened had the film performed better. Vampire in Brooklyn made a moderate financial success and received mostly negative reviews upon release. As years passed, it gained popularity as a beloved classic, with reviewers later applauding Craven’s direction, the spark between Murphy and Bassett, and its clever mix of horror and comedy. The film flashes 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. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an overlooked but impactful film characterized by its bold style and unforgettable performances.
