Ryan Coogler's latest work may have breathed new life into the idea of African American undead, but the roots of this cinematic category trace back to the Blaxploitation era. Among the most iconic early examples was the 1972 classic Blacula. In that film, William Marshall's character is turned by Dracula and cursed with the demeaning name “Blacula.” Originally written as a caricature, the performer 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 his predecessor, enriching his own character's mythology in the director's interpretation 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 hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, terrifying, and thought-provoking all at once, earning 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 essential watch if you need a dash of humor with your scares this Halloween.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), Maximillian is pulled to New York City. But rather than traveling from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, seeking to locate and ensure the survival of his undead bloodline with an offspring of his tribe.
The character makes his entrance in New York aboard a ghost ship whose crew has been inexplicably killed, a homage to Nosferatu. The vessel is found by ship inspector Silas Green (the comedian) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then witnesses a black wolf leap 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, setting the mood for a film that expertly mixes horror and humor.
Artistic Goals
Fresh off his final entry in the iconic horror series, Craven was eager 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 comedy and genuine scares). Meanwhile, Murphy wanted to subvert expectations by diving into a straight horror rooted in vampire mythology. The conflict of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the movie clicks into high gear, it opens up to its strengths — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), adds a procedural element to the story. Among African American film's most praised actresses, she gives a powerful performance alongside Payne, a well-known actor from the time. In the meantime, Murphy spends the majority of the film with Kadeem Hardison, forming a hilarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates during the movie is a highlight of how Murphy’s usual bag of tricks enhances the humor and fear, even when employed by other actors).
Dark Seduction
When the two leads meet and Murphy and Bassett appear together, the movie reaches its peak — the suspense builds, 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 intervene. He kills her roommate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and undermine her faith.
As the plot unfolds, it becomes increasingly Gothic, including metamorphoses and revelations of origins. This leads to a third act packed with seduction, as mortality and damnation hang in the balance. The movie concludes with a teaser suggesting a potential sequel, one that could have happened had the movie been more successful. Vampire in Brooklyn made a moderate financial success and received mostly negative reviews upon debut. As years passed, it found new life as a beloved classic, with reviewers later praising Craven’s direction, the spark between the leads, and its sharp blend of horror and comedy. The movie shows 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 spot in the history of African American scary movies, an overlooked but influential entry characterized by its daring approach and memorable acting.
