Ryan Coogler's recent work may have breathed new life into the idea of Black vampires, but the origins of this subgenre trace back to the 1970s cultural movement. Among the most memorable early examples was the 1972 classic Blacula. In that film, the actor's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a caricature, Marshall elevated the role into something majestic, providing his character an historical origin as Mamuwalde, a proud African prince.
Decades later, the comedic star seemed to take a cue from Marshall, deepening his own protagonist's lore in the director's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be funny, terrifying, and thought-provoking all at once, earning its place in the canon by juggling all three while respecting the heritage of the category.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you need a little comedy with your scares this spooky season.
An Urban Vampire Story
Like the royal character in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to the Big Apple. But instead of journeying from Zamunda to Queens, he emerges from the Bermuda Triangle 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 on a phantom vessel whose crew has been inexplicably killed, a homage to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then witnesses a black wolf jump from the ship, run into an alley, and transform into a man — reminiscent of the iconic routine from the extended Black or White video. Groovy Blaxploitation-style music kicks in, establishing the mood for a film that expertly mixes scares and laughs.
Artistic Goals
Recently after his last installment in the iconic horror series, Craven was keen to move beyond his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). At the same time, Murphy aimed to subvert expectations by venturing into a straight horror based on Dracula lore. The clash of those artistic aims accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But once the film clicks into high gear, it unfolds to its assets — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), adds a procedural element to the narrative. One of African American film's most praised actresses, Bassett gives a powerful performance alongside Payne, a well-known actor from the era. In the meantime, the lead spends most of his screen time with his comedic partner, forming a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius descend further 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 utilized by other actors).
Supernatural Romance
When the two leads meet and the stars finally share the screen, the film hits its stride — the suspense builds, the scares intensify, and their sinister attraction takes center stage. The vampire's scheme is to take away all Rita has in her life and then intervene. He kills her housemate, drives a wedge between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and weaken her beliefs.
As the story unfolds, it becomes increasingly Gothic, including metamorphoses and revelations of origins. This leads to a final section filled with temptation, as mortality and damnation hang in the balance. The movie concludes with a teaser suggesting a potential sequel, one that might have materialized had the film performed better. Vampire in Brooklyn made a moderate financial success and received mostly negative reviews upon debut. As years passed, it gained popularity as a beloved classic, with critics later applauding Craven’s direction, the spark between Murphy and Bassett, and its clever mix of horror and comedy. The film flashes moments of brilliance that might have shone brighter had all participants been aligned on a unified vision, rather than delivering the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an overlooked but influential film defined by its daring approach and unforgettable performances.
