The director's latest project may have revitalized the idea of Black vampires, but the roots of this cinematic category date back to the Blaxploitation era. One of the most iconic pioneering films was the seminal 1972 movie Blacula. In that motion picture, the actor's role is bitten by Dracula and cursed with the insulting name “Blacula.” Originally written as a stereotype, the performer elevated the role into something majestic, providing his character an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star appeared to draw 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 ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and intellectually stimulating simultaneously, securing its place in the canon by balancing all three while respecting the heritage of the category.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you want a little comedy with your scares this spooky season.
An Urban Vampire Story
Similar to the royal character in Coming to America (Murphy's classic from 1988), the vampire lead is drawn to the Big Apple. But instead of traveling from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to find and secure the survival of his undead bloodline with an offspring of his tribe.
The character makes his entrance in New York aboard a phantom vessel whose crew has been mysteriously slaughtered, a nod to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then observes 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 kicks in, setting the tone for a film that handily balances scares and laughs.
Creative Visions
Fresh off his last installment in the Nightmare on Elm Street series, the director was eager to break from his horror reputation and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). At the same time, the star wanted to defy assumptions by venturing into a straight horror based on vampire mythology. The clash of those artistic aims accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But when the movie clicks into high gear, it opens up to its strengths — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a crime-drama edge to the story. One of African American film's most acclaimed actresses, Bassett delivers a commanding performance with her co-star, a well-known actor from the time. Meanwhile, 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. (Seeing Julius descend further into his ghoulish role as his appearance deteriorates during the movie is a standout moment of how the star's comedic style enhances the humor and fear, even when employed by the cast).
Supernatural Romance
When Max and Rita’s paths intertwine and the stars finally share the screen, the movie reaches its peak — the tension heightens, the scares intensify, and their sinister attraction takes center stage. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He murders her housemate, creates conflict between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and undermine her faith.
As the plot progresses, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This leads to a final section packed with temptation, as life and eternal punishment are at stake. The movie concludes with a stinger suggesting a potential sequel, one that could have happened had the movie been more successful. Vampire in Brooklyn made a modest box office return and got largely critical reception upon debut. As years passed, it gained popularity as a beloved classic, with reviewers later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its sharp blend of horror and comedy. The film flashes moments of brilliance that might have shone brighter had everyone involved been in agreement on a cohesive approach, rather than delivering the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the history of Black horror, an overlooked but influential film defined by its bold style and unforgettable performances.
