The director's latest project may have breathed new life into the concept of Black vampires, but the origins of this subgenre date back to the Blaxploitation era. One of the most iconic early examples was the 1972 classic Blacula. In that motion picture, the actor's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a caricature, Marshall elevated the part into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, the comedic star appeared to draw inspiration from his predecessor, enriching his own character's mythology in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and thought-provoking simultaneously, earning its place in the hall of fame by balancing all three while respecting the subgenre's legacy.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you need a dash of humor with your scares this spooky season.
A Tale of Two Cities
Like the royal character in Coming to America (Murphy's 1988 masterpiece), Maximillian is drawn to New York City. But instead of traveling from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, seeking to locate and ensure the survival of his undead bloodline with an offspring of his clan.
Maximillian arrives in New York on a phantom vessel whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by harbor official 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 leap from the ship, dart into an alley, and morph into a man — like Michael Jackson's Panther Dance from the extended Black or White video. Funky Blaxploitation-style music starts, setting the mood for a movie that expertly mixes horror and humor.
Directorial Ambitions
Recently after his last installment in the iconic horror series, Craven was keen to move beyond his horror reputation and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and genuine scares). Meanwhile, Murphy aimed to subvert expectations by venturing into a straight horror rooted in vampire mythology. The clash of those creative goals explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But once the film clicks into high gear, it opens up to its assets — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), adds a crime-drama edge to the narrative. One of African American film's most acclaimed actresses, Bassett gives a commanding performance with her co-star, a familiar face from the time. In the meantime, the lead spends the majority of the film with his comedic partner, creating a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Watching Julius descend further into his ghoulish role as his skin decays throughout the film is a highlight of how the star's comedic style enhances the humor and fear, even when utilized by the cast).
Gothic Intrigue
When the two leads meet and the stars finally share the screen, the film reaches its peak — the suspense builds, the fear escalates, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to remove all Rita has in her life and then swoop in. He kills her roommate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and weaken her faith.
As the story progresses, it becomes increasingly Gothic, including metamorphoses and discoveries of heritage. This leads to a final section filled with seduction, as life and eternal punishment are at stake. The movie concludes with a stinger hinting at a possible follow-up, one that could have happened had the movie performed better. Vampire in Brooklyn earned a modest box office return and received mostly negative reviews upon debut. As years passed, it found new life as a cult favorite, with reviewers later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of horror and comedy. The film flashes glimpses of genius that might have shone brighter had everyone involved been aligned on a unified vision, rather than producing the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an underappreciated but impactful entry characterized by its bold style and unforgettable performances.
