Ryan Coogler's recent work may have breathed new life into the concept of African American undead, but the origins of this subgenre date back to the Blaxploitation era. Among the most iconic pioneering films was the 1972 classic Blacula. In that film, William Marshall's character is bitten by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, the performer elevated the part into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw inspiration from his predecessor, deepening his own character's mythology in the director's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. 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 respecting the heritage of the category.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you want a little comedy with your frights this spooky season.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is drawn to New York City. But instead of journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the survival of his undead bloodline with an heir of his tribe.
Maximillian arrives in New York aboard a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The vessel is discovered by harbor official Silas Green (the comedian) 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, dart into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, setting the tone for a film that expertly mixes scares and laughs.
Artistic Goals
Fresh off his final entry in the Nightmare on Elm Street series, Craven was eager to move beyond his horror reputation and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and real fear). Meanwhile, the star aimed to subvert expectations by venturing into a straight horror rooted in 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 when the movie clicks into high gear, it unfolds to its strengths — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), adds a crime-drama edge to the story. Among Black cinema’s most praised actresses, she gives a commanding acting with her co-star, a well-known actor from the era. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, creating a hilarious 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 highlight of how Murphy’s usual bag of tricks elevates the humor and fear, even when employed by the cast).
Gothic Intrigue
When the two leads meet and the stars finally share the screen, the movie reaches its peak — the tension heightens, the fear escalates, and their sinister attraction takes center stage. The vampire's scheme is to remove everything Rita has in her life and then swoop in. He murders 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 clergyman and weaken her faith.
As the story progresses, it becomes increasingly Gothic, featuring metamorphoses and revelations of origins. This results in a third act filled with temptation, as life and eternal punishment are at stake. The film ends with a teaser suggesting a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn made a modest box office return and received largely critical reception upon release. Over time, it found new life as a beloved classic, with reviewers later applauding Craven’s direction, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The movie flashes moments of brilliance that could have been more prominent had everyone involved been in agreement on a cohesive approach, rather than delivering the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the history of African American scary movies, an underappreciated but influential film characterized by its bold style and unforgettable performances.
