The director's recent project may have breathed new life into the concept of African American undead, but the roots of this subgenre trace back to the 1970s cultural movement. Among the most iconic early examples was the 1972 classic Blacula. In that motion picture, the actor's role is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, Marshall elevated the part into something regal, giving his figure an historical origin as Mamuwalde, a proud African prince.
Years afterward, the comedic star seemed to take a cue from Marshall, enriching his own protagonist's lore in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, terrifying, and intellectually stimulating simultaneously, earning its place in the canon by balancing all three while honoring the heritage of the category.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you want a dash of humor with your frights this spooky season.
An Urban Vampire Story
Like the royal character in Coming to America (the actor's 1988 masterpiece), Maximillian is pulled to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to find and secure the continuation of his vampire lineage with an heir of his tribe.
The character makes his entrance in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship is found by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then observes a black wolf leap from the ship, run into an alley, and morph into a human — like the iconic routine from the longer Black or White video. Funky Blaxploitation-style music kicks in, setting the mood for a movie that expertly mixes scares and laughs.
Artistic Goals
Recently after his last installment in the iconic horror series, Craven was keen to break from his horror reputation and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and real fear). Meanwhile, Murphy wanted to defy assumptions by diving into a pure scary movie based on Dracula lore. The clash of those artistic aims explains the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the film clicks into high gear, it unfolds to its strengths — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), brings a crime-drama edge to the story. One of Black cinema’s most acclaimed performers, Bassett delivers a commanding performance with her co-star, a familiar face from the era. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, creating 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 skin decays throughout the film is a standout moment of how the star's comedic style enhances the comedy and horror, even when utilized by other actors).
Gothic Intrigue
When the two leads meet and Murphy and Bassett finally share the screen, the film hits its stride — the tension heightens, the fear escalates, and their sinister attraction becomes the focus. Max’s plan is to take away everything Rita has in her life and then swoop in. 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 beliefs.
As the story progresses, it becomes more darkly romantic, featuring transformations and revelations of origins. This results in a final section packed with temptation, as mortality and damnation hang in the balance. The film concludes with a teaser suggesting a possible follow-up, one that might have materialized had the film been more successful. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon release. Over time, it gained popularity as a beloved classic, with critics later applauding the filmmaker's work, the electric chemistry Murphy and Bassett, and its sharp blend of horror and comedy. The movie flashes moments of brilliance that could have been more prominent had everyone involved been aligned on a cohesive approach, rather than producing the mixed-genre result audiences received. Still, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an underappreciated but impactful entry defined by its daring approach and memorable acting.
